Nisimazine Tallinn 2014 #5

Nisimazine

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review 1st December 2014

TALLINN

the magazine by NISI MASA - European Network of Young Cinema

Palo Alto The Theory of Everything Apostle Elephant Song The Move Spring What We Do in the Shadows from Elephant Song by Charles BinamĂŠ

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Editorial

CREDITS NISIMAZINE TALLINN NOVEMBER 17th-28th, 2014

We are sitting in a dark medieval apartment in the morning. Some of us are still in a different time and place. Our first exercise is to explore the city, the festival venues.

We talk about compositions, angles, cut-aways.

One of the difficulties, or rather, challenges, of photography at PÖFF is the variety of genres that a film festival requires. There is no single style that suits the whole festival and capturing moments and fragments of people was never easy. Especially when you have less than half and hour for an interview.

Some street-style photography is needed, but not only that. There are portraits to make of film directors and others - but it’s not just portrait photography. We can see the PÖFF logo around the city, but the festival is more than just the logo. Any pictures of this interesting city are not enough on their own because they have only a passing relevance to the life of the festival.

PÖFF may have begun as a small indie festival but it has grown into the biggest film festival in Estonia and one of the biggest in the Baltics. It is a little world, with its own citizens, its own rules, its own logic. It is acceptable to approach a complete stranger and ask him or her to pose for a photograph, or be interviewed on camera, as long as that person is a film director. It is acceptable to hang around in cinemas and to jump the queue if you are chasing The Picture, or to leave a conversation half way through when you see the VIP you’ve been waiting for.

The days are almost as dark as the nights now. The first snow comes, the roads are slippery. Nobody has an accident but we decide not to take portraits outside because of the light. The hands of the photographers are freezing. One of the bravest makes an interview near the sea, windy and cold. Then we remember, yeah that’s right, she’s Estonian.

Edina Csüllög and Daniel Allen

Edition of Monday, Dec 1st 2014/#5 A magazine published by NISI MASA in the framework of a film journalism workshop for young Europeans EDITORIAL STAFF Editor-in-Chief Fernando Vasquez (Portugal) Editor Mirona Nicola (Romania) Assistant Editor Ewa Wildner (Poland) International Coordinator Luisa Riviere (Colombia), Emilia Haukka (Finland) Design Francesca Merlo (Italy) Photography Daniel Allen (UK) Guest Tutor Ula Lipinska (Poland) Local coordinator Merli Antsmaa (Estonia) Image editor Edina Csüllög (Estonia) Contributors to this issue Edina Csüllög (Estonia), Daniel Allen (UK), Tara Karajica (Serbia), Zuzanna Kwiatkowska (Poland), Thomas Humphrey (UK), Patrycja Calinska (Poland), Monika Martyniuk (Poland), Miorna Nicola (Romania), Andrei Liimets (Estonia) Special thanks to Tiina Lokk, Javier Garcia Puerto, Laurence Boyce, Heidi Koppel, Maris Hellrand, Helmut Janes and Emilie Toomela NISI MASA European Network of Young Cinema 99 Rue du Faubourg Saint-Denis 75010 Paris, France +33 (0)1 48 01 65 31 europe@nisimasa.com www.nisimasa.com With the support of the Youth in Action of the European Union. This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Picture of the day

® Daniel Allen (UK) © Daniel Allen (UK)

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Palo Alto Gia Coppola, USA - Just Film The name Palo Alto has been generating a lot of buzz lately in the festival circuit, both because it is the title of James Franco’s bestselling short stories and because it is the title of Gia Coppola’s debut feature.

Following the lives of a bunch of Palo Alto teenagers, it is the portrait of a new lost generation of kids: the IPhone generation. It may have a romantic ring to it but the concept that the film portrays bears no romance at all. It isn’t an entirely new concept either.

Palo Alto is a raw, accurate and universal representation of today’s wasted youth. Indeed, the “lost” teenagers from Palo Alto are no different from any other average teenagers in the world. They drive drunk, smoke weed and deflower virgins: Nothing new.

Nevertheless, this film strives to capture the truth of these teens’ experience, depicting accurately the occasional racism, misogyny and self-destruction that inevitably comes with the package of growing up and manages to sensibly convey the innocence they are truly yearning for.

The film bears many similarities, style wise, with the films of Sofia Coppola, heavily drawing its inspiration from her The Virgin Suicides and lingering on peripheral details. Naturally, this comes as no surprise. Moreover, there is a strong emphasis on the cinematography that comes from Gia Coppola’s background in photography. This is especially visible

in the beautiful and poetic shots of faces during sex scenes thanks to Autumn Durald’s dreamlike lensing.

The film starts very dynamically with a drunken conversation scene in a car followed immediately by the title accompanied by compelling music, thus establishing an energetic pace. However, in spite of its short running time, at times it feels overlong but never spirals into tediousness. The film goes to great lengths to give more significance and a deeper layer to its characters but also strives to give a moral lesson without taking a patronizing tone or indulging in preaching. Gia Coppola also manages to cover a wide range of emotions, ranging from fun to horror and conveys them perfectly to the audience.

As far as the acting is concerned, she manages to bring out the best in her cast. Emma Roberts, the newbie Jack Kilmer (son of the legendary Val Kilmer) and veteran James Franco all render equally great performances in their respective roles.

Palo Alto doesn’t seem to be anything new but it does it with a personal, sincere and confident style and this should be praised indeed. I am curious to see where Gia Coppola will go from here and in which character the biggest chunk of Franco is hidden.

Tara Karajica

2 review originally published in Nisimazine Venice ebook 2013

WINNER BEST ACTOR

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which he manages to recover with a little help from his friend and his beloved one. The struggle with time has two aspects: he must find an answer to the question how time began in the short time he has left.

Although it seems to be a typical tearjerker based on emotions resulting from becoming a disabled person, in fact it is the other way round.

Each disagreeable situation connected to the progressive illness is balanced by the continuous sarcastic humour of the scientist, who retained brightness of the mind. Based on Jane Hawking’s book, the film shows the family life in true light, with all its ups and downs. The characters are not crystal clear, which makes them more true-to-life and inspiring.

The Theory of Everything James Marsh, UK - International Official Competition What would you do if you knew that you only have two years left to live? This is one of such questions which cannot be answered without self experience, without an unimaginable amount of emotions accompanied by an awareness of how many things you won’t be able to do. The doctor’s verdict may bring depression and a feeling of loneliness but it doesn’t have to. Sometimes it is stimulating and it becomes possible to deceive destiny.

Stephen Hawking, who was supposed to die at the age of 23, lives until nowadays and he’s 72 years old. One of the greatest cosmologist of contemporary times, author of A Brief History of Time, Hawking has a motor neuron disease related to ALS (very popular lately due to the ice bucket challenge). The answer to the question how he managed to achieve it, can be found in the newest film directed by Oscar winner James March: The Theory of Everything.

The story begins in 1963, when Hawking, for the first time, met his future wife Jane. Through the magical atmosphere created by means of delicate music and colourful frames we are introduced to the love story.

However, the fairytale doesn’t last long, because the doctors recognize the origins of the disease. The protagonist falls into depression from

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In the beginning, the story unfolds with an accompaniment of beautiful shots, full of saturated colours, creating a magical scenery for the budding love. During the changes in plot, the colour scheme remains the same emphasizing the warm climate of relations between the family members. Maintained high-key, it creates a gentle, smooth frame for the tragic but, at the same time, incredibly positive story.

Eddie Redmayne, who is playing the main role, deserves a special mention. He not only looks like Stephen Hawkins (which is not to his merit after all), but also acts very convincingly an ALS-afflicted person. His mimicry expresses all the emotions related to losing control over his body. Also Felicity Jones (playing Jane) does well with the hard role of the woman who devoted her life to her husband remaining in his shadow. She shows how strong and determined Mrs Hawkins was during their life together.

Somebody could accuse this movie of being too sugary Hollywoodstyle (with a captivating ending) but, after all, it is based on a true story and real people. That is its biggest advantage. We can follow the story of a man living on borrowed time who didn’t surrender. We don’t feel sorry for his incapacity but envy his skill of squeezing each day to the last drop. It is possible to defer death if you have a serious reason for staying alive.

Zuzanna Kwiatkowska

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Here we sit uncomfortably in the lap of propaganda perhaps. But the film does ask questions as to whether South Korea or capitalism offers such a promised land. The characters also nicely live out North Korea’s rarely seen divisions today. Most brilliantly the film also shows that whilst pernicious dictatorial regimes can try to control people’s movement, it cannot stop the osmotic flow of ideas and beliefs across its borders.

Apostle

Jin-Moo Kim, South Korea - International Official Competition It is a considerable challenge to review Jin-Moo Kim’s Apostle. I was so disarmed by the opening scene’s violence that it was some time before I recovered. Suffices to say that the Korean leitmotif, the hammer, is used so cruelly that I struggled.

Consider that a warning shot to squeamish people who thought they might want to watch this film. The scene’s horror is also intensified by the fact that Apostle supposedly reconstructs real lives of persecuted Christians in the borderlands of North Korea. Less squeamish viewers can even judge that veracity if they stick around to see the torture footage which plays the credits out.

This liminal microcosm is depicted as a veritable no-man’s land, ubiquitously littered with bodies. These prove to be the unburied dead of a country at war with itself: Those fleeing to China or South Korea are shot on sight. Somehow, though, a native of this netherworld, Chul-ho Joo (who has been severely traumatised by the opening scene too), returns.

In an apostolic manner, he then tries to extricate his tormented Christian flock to some kind of ‘promised land’.

Not since Kim Ki-Duk’s Pietà, then, has a director so interestingly depicted a Korean fascination with Christian topoi. And despite being a true story, Jin-Moo really plunders every Christian trope I can think of.

Chul-ho becomes a modern-day Moses. He, his wife and many others (who repeatedly hide in catacomb-like caves) all ultimately become martyrs. One Christian is even burned alive. A woman also presents herself as the carrier of a fatherless child, and the child’s birth just about signals a new beginning at the film’s end.

Anthropologically, it all proves rather compelling. The result becomes an exploration of whether a peace-inducing religious state can even exist, if people must constantly choose between survival and spirituality. The second half of the film also collapses emotively, like a fragile vase being shot to pieces, one shard at a time. But perhaps the desire to place emphasis on the true story leaves Apostle’s style stale. It’s all shot mundanely, and seems in parts to resemble the overly-emotive, stagey feel of some of South Korea’s more soppy soap operas.

This makes me suspect the film is primarily intended to confront domestic audiences with a personal problem. Nevertheless instances of gawkish humour, like those surrounding the simpleton Christian soldier, seem very overdone. The movie also loses the plot at the end. We segue into a corny afterlife (which turns out to be a dream), before finally arriving at the stream of real-life evidence.

Credit where it’s due, though, Kim has certainly created a more openhanded film about North Korea than I see the West doing any time soon.

I mean, just what is The Interview?

Thomas Humphrey

Elephant Song

Charles Binamé, CANADA - International Official Competition Adapting theatrical screenplays, although applied by the masters – as Elia Kazan, Roman Polanski or Bob Fosse – could be tricky for filmmakers. Not always emotions presented on a stage are convincing for a movie audience – sometimes they are too intense and simply become a caricature. Fortunately, Charles Binamé hasn’t been trapped in this ambush. He succeed to condense the tension involving the viewer up till the final credits.

Xavier Dolan, the golden kid of the Canadian film industry, becomes used in any role connected to a camera – this time he stands in front of it, focusing all eyes on himself. And he does what he was created for – shines with all his talents.

The plot, set in the mid-sixties , is entirely a retrospective – even if we only realize that after a while. Almost the entire action takes place behind the closed door of a psychiatrist’s office, where a troubled patient, Michael, is being interviewed about the disappearance of his leading doctor, James Lawrence. A conversation between the outstandingly intelligent patient and a psychiatrist who also holds

the position of director of the hospital is a fascinating contest of two strong personalities.

Of course, Dolan is a bit overacting his character – but at the same time this is part of his charm. Naughty, confident and seemingly omniscient Michael (without any access to a reliable source of information, just gossip) is both unbearable and lovely. His pathological deceiving – always fitting into a frames of probability – and random pieces of information about elephants, pulling like an ace from his sleeve, baffle the psychiatrist and serve as Michael’s major weapon in this little internal investigation. He elaborates all of these characteristic tics and countenance – already known from his self-cast films – into perfection. Even if someone wants to accuse Dolan of being himself – could one deny the shining of madness in his fidgety sight? (Even if the self referential inside-jokes about “mommies” and “killed mothers” are more pathetic than pat.)

The camera contributes to revealing Michael’s personality, following him from the patient’s couch into the doctor’s chair. The place where Michael is settled infers the role he’s playing. Sharp editing makes the conversation, being tug-of-war itself, even more mesmerizing. The close-ups of Michael’s unreadable eyes suggest his profound obsession with elephants.

Worth mentioning is also the visual aspect of the film: the cold, modern interior of the psychiatrist’s office is presented only in blues, greys and greens. No sun, no colour. The only eye-catching thing is Michael’s claret jacket. He wears a pair of classical Converse and jeans rolled-up over the ankles as they’re being a declaration of youth, which must finally clashes against cold reason. On the other hand, we have retrospectives from Africa and Cuba, filling the screen with seething colours.

All these images lead us to an unexpected ending, reversing the film from a psychological movie into a twisted drama. Have you ever expected...? No, you haven’t.

Patrycja Calinska 4

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The Move

Marat Sarulu, Kyrgyzstan - International Official Competition Panta rhei – it is the main concept of Heraclitus philosophy and of The Move by Marat Sarulu. The film flows (or maybe seeps would be a better word) very slowly. It is a celebration of nature, time and even the smallest movement of any action. It is an essay about daily human existence, unfortunately not suitable for everyone. For lovers of nature and people who have too much free time, for sure.

The film lasts about three hours and during this time nothing exactly happens. However, it is not monotone at all. Maybe it is just too long.

The opening frames show us a landscape with magnificent rocky mountains, an enormous cyan lake and a little blue boat with two people inside: an old man and his grand-daughter. They live in a tiny village at the end of the world. Unfortunately, they lost their wonderful place on earth and had to move to the town. This is the beginning of their long wandering from one place to another.

The story is the Kazakh director’s reflection about people who had to migrate from their homeland and lost their roots. It is also about perva-

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sive and uprising unemployment. However, it definitely is not a typical drama. Instead of sensational twists and fireworks, there is a lethargic and harmonious bond between human and nature. The story talks about prosaic problems, but at the same time it is also metaphorical. Grass waving with the wind, clouds on the blue sky, huge empty spaces, rocky mountains, falling rain – all those phenomenons are great and mysterious powers of nature. In the town part, the blue boat is changed for a blue taxi, while the brown mountains are replaced by industrial landscapes with rails and blocks of flats. The film emphasises chromatics.

The amount of colours was limited to natural ones such as grey, brown, white and blue. But the final effect is amazing – wide, spatial and very symmetrical frames remain in our memories for a long time.

According to the title, this is a feature about a journey. However, like during every journey, the characters not only discover new places, but try to explore their souls too. Maybe that is a reason why this film is so slow and long. Perhaps the director’s intention was to create for the viewers experiences similar to those of the characters – to be lost, confused and exhausted of this never ending movement. It is also possible that, because of the incredible length of every scene, we can celebrate all the details and finally feel the presence of time, which does not happen very often. Especially nowadays, when we are used to being in a rush. This screening could be an amazing experience, but probably two hours would be enough.

The film is quite silent – not much dialogue and the instrumental music appearing only in a few scenes create a monumental and extraordinary atmosphere. All these elements put together make an enormous whole which could pertain to odyssey. Nonetheless, I would rather suggest to be careful. It’s like a treacherous precipice – marvellous and dangerous at the same time.

Monika Martyniuk

bestiality mean you’ll lose your playful spirit or you can’t care for proper hygiene or a few pedantic quirks. What’s more, being undead can be very funny business.

What We Do in the Shadows Taika Waititi, Jemaine Clement, New Zealand - Just Film, Vitamin Boost New Zealand might be the last place on Earth where you’d think it’s the case to keep an eye out for vampires. Well, you’d be wrong.

Wellington is the place that Viago, Vladislav and Deacon call home.

And they are not the only ones- from werewolves to zombies, the city’s night life hustles and bustles with a well represented community of the undead.

For all of those out there thinking being virtually immortal is great, What We Do in the Shadows is here to prove you wrong. You still need to struggle to make and keep your friends- especially those of the human kind, as you’re always tempted to stick your fangs in their neck. As a vampire you might also face an important ethical dilemma when it comes to keeping a faithful human servant around.

They are an absolute necessity, but they might be nagging you incessantly about helping them become a vampire too.

What the three vampire flatmates and buddies make us understand best though is the fact that being dead still doesn’t protect you from strong emotions such as fear or falling in love, nor does your 5

With a tongue in cheek mockumentary approach, Taika Waititi and Jemaine Clement created a film that will shift everything you thought you knew about vampires. Flight of the Concords fans will be familiar with the cast and the style of humour. This is not to say that the directors don’t take their characters seriously- quite the contrary. They are intimately and gingerly sketched, from attitude, to mimicry and speech. The deceivingly simple special effects (think flying or spontaneous metamorphoses into bats) help to establish the convention and the atmosphere. But they are also means to create very efficient gags- vampires have no reflection, yet a mirror is the perfect frame for an impromptu reenactment of a PacMan game, with a lemon and a napkin as props.

What We Do in the Shadows cleverly plays with our fear as well as the general preconceptions and mythologies connected to the undead. Without cliche reference to Transylvania- although it is implied that Vladislav is none other than Vlad the Impaler- the introduction of the protagonists is interlaced with stills of manuscripts, encyclopedias, paintings and murals that take the viewer through a series of telling images in all their gothic glory.

If you play along with What We Do in the Shadows (and you should) you’ll get the right amount of blood, fear of the sun and coffins to keep your vampier-lover side happy. But do expect good doses of humor as you discover, for example, that vampires long for sunlightone of the biggest advantages they find to modern technology is the ability to safely experience seeing the sunrise by the means of a YouTube video. This is a definite must for all fans of the vampire genre, but won’t fail to prove enjoyable for anybody in the search for a piece of thoughtful and kooky entertainment.

Mirona Nicola

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In technical terms the sophomore feature proves to be a progression from the tightly budgeted debut. It packs quite a few more ambitious visual tricks up its sleeve such as stylish slow-motion scenes and a couple of rather astonishing aerial shots. This doesn’t mean Spring loses it’s somewhat distinctive feel of an indie-film which mostly comes down to the use of hand held camera and natural lighting.

Spring

Justin Benson, Aaron Moorhead, USA - Competition of North American Indies You can be forgiven if you missed Resolution, a 2012 debut from codirectors Justin Benson and Aaron Moorhead, the first of whom also serves as the screenwriter and the latter as the DoP. The low budget production had a very limited release but did gather some neat reviews on the festival circuit and proved a hit with the niche horror audiences. It demonstrated the authors’ tenacity for mixing up genres and throwing film tropes on their heads. So how do you follow up a found footage-horror-buddy comedy? The obvious answer here is: by making a romantic-road movie-monster horror-drama. With some comedy on the side.

The protagonist of the film is Evan, a young American who finds his life in a mess after the death of his mother. A bar fight sets into motion a chain of events ending up with Evan travelling to Italy without much rhyme or reason. There he meets the beautiful but mysterious Louise and sparks fly, along with blood, guts and the viewers presumptions of what will happen next. There’s love and there are dark secrets as the directors cunningly jump between genres again.

The result is an atmosphere of unpredictability that feels hospitably Mediterranean and horrifyingly alien from one moment to next.

For all its twists and turns, what gave Resolution much of its gravity was the casual yet close relationship between the two main characters. Spring provides more special effects (created in an Estonian studio, by the way) and different sets but similarly feels most at home when just depicting two people talking - the two hurting souls trying to gain a view into each other’s worlds, curious and afraid at the same time of what they might find. The two leads, Lou Taylor Pucci as Evan and Nadia Hilker as Louise, are well cast and seem to bond perfectly on screen. While Pucci is the more known of the two after his role in the remake Evil Dead, the real find is Hilker in a rather sweet spin on the classical femme fatale role.

While Spring passes as a B-category fantasy horror flick, it also deals with meaty topics such as love, loss, sacrifice and commitment. It might not provide much new perspective on any of them but in terms of both brains and heart, it certainly flies high over thematically similar and massively successful franchises such as Twilight and all its lookalikes. Not to mention creating a far more original background mythology. The film can be described as Before Sunrise meets Under the Skin. It manages to stay gross and sweet at the same time, packing a lot of ideas, storylines and background info into an hour and a half. What it might lack in overall emotional resonance due to the many tonal shifts, it more than makes up for in fresh variations on genre tropes. It will most probably cause a lot of ‘wtf’ moments, especially if you don’t know what you are up for, but it will also captivate many viewers by remaining clever, surprising and playful with form and tone.

Andrei Liimets

Nisimazine Calendar December 2014 Yearbook January 2015 Rotterdam April 2015 Istanbul May 2015 Cannes

July 2015 Karlovy Vary

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Interview with

Justin Benson & Aaron Moorhead Directors of ‘Spring’- Competition of North American Indies The Coen brothers are often described as complementing each other as well during interviews as when making films. The dynamic seems to be similarly oiled between co-directors Justin Benson and Aaron Moorhead who along with talent share with their more famous colleagues an affection for straight faced humor and a playful tone. Seamlessly jumping between well thought out analysis and witty one-liners, they shared thoughts on their genre-bending sophomore feature Spring and the state of contemporary American cinema.

Was yesterday’s screening half full or half empty?

JB: It was half full!

AM: Half full of people that didn’t understand it. (both laugh) Is avoiding genres something you’re going for or does it just happen?

JB: The best way to describe it is that there’s very little to no discussion on genre and we just make a story that’s interesting.

AM: It’s pretty rare that people set out to make a movie that specifically has to be horror or sci-fi. It’s better to just make it interesting. Try to do something new and fresh. The building blocks of doing that will specify the genre afterwards.

Was it an easier film to make after the experience of your debut?

AM: I think it was much more difficult because we had a 7

lot more pieces in the puzzle. The biggest one being shooting in Italy, the other using actual creature effects. But it was even harder to get off the ground because it was not our own money any more. We had to go find the right producer, we had to go find our locations. With the first movie they were kind of there, it was written for stuff we already had available.

The screenplay was written by Justin. How much of a creative input did Aaron have?

AM: When we finished Resolution he got on the keyboard and started writing three scripts. I think I knew only about the plot of one of them. In that regard, I didn’t have any input in the creation. But we workshopped the script of Spring for a few months until we found we were ready to take it out there. It wasn’t the first thing we were going to do after Resolution but after a lot of discussion and talking to XYZ Films it felt like the right progression. It’s a little bit bigger on the budget level and it felt like the one that called to us the most.

JB: I used to write not knowing where it was going and just letting the characters talk and figure it out. You ac-

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tually can’t do that anymore because you have to collaborate with so many people on the story. But it was an interesting time as a screenwriter because I was just discovering the screenplay on the go.

How much of yourself did you put into the main character Evan?

JB: Probably nothing. It’s funny because it’s a romance but I’ve never had a real relationship. Maybe I wish I was like that. And I wish I met a monster girl. (laughs) How would you describe the state of the American independent cinema today?

AM: It’s amazing actually. There’s more and more getting made which might or might not be a good thing. That means even though there are more bad movies, there are also more good movies. The only problem is the actual business is still in a flux trying to figure out how exactly to guarantee financial success. But as for the moviegoer, it’s just the most exciting time because there’s more stuff and more good stuff.

In the past few years quite a few independent filmmakers have been fast-forwarded to big budgets such as Gareth Edwards from Monsters to Godzilla and Colin Trevorrow from Safety Not Guaranteed to Jurassic World. Are you waiting for a call from the big studios?

JB: There’s a really-really tough question. On the one hand you get the biggest audience you ever had. That’s what every filmmaker wants, right. On the other, what you make is in no way yours. It’s not personal to you in any way. You’re just the person who comes in and ap-

proves certain things. And keep in mind that in the industry there’s less and less alternatives to that - the movies between Monsters and Godzilla are becoming non-existent. The dream for a lot of independent filmmakers now is to get into TV. That’s where a lot of ambitious stuff is happening, where you can make a living and get a huge audience.

AM: Yeah, we’d like that phone call.

Would you like to make a series and what would it be about? Do you have an idea to pitch already?

AM: Yeah, we have a few.

JB: We have this one that’s about this high school science teacher who is diagnosed with terminal cancer so he starts selling meth. We’re really excited about it.

I don’t think that would work. Nobody would watch that.

So no 200 million budgets for you?

AM: Probably not. I just don’t see us making superhero movie number 57 unless it just happens to be reallyreally amazing.

So it has to be 250 million at least?

AM: (laughs) Yeah! Well, we’ll always look at it and there might be something that sparks for us but I’m pessimistic about actually controlling the movie in the way it needs to be controlled to make it something that feels like it has a voice instead of just being another movie.

Interview by Andrei Liimets

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