"This film was able to see the light of day because we met Adèle Haenel. When we saw her there we talked a little but then we were separated. We thought, here is a young actress whose face could serve as a motor for our project, which we were having difficulty developing and writing."
It is important for me to work without a locked script, and without giving strong directions.
“The words written in the script are really just for my reference. I never show the actors the screenplay. I find I always get better results with the dialogue if we do some improvisation and run through the scene a few times.”
A big influence on me was Edward Hopper, because I look at his paintings and you have two or three objects in a room, but they combine to create a mood and a whole story. Suddenly a lamp become important, or a poster or a piano, and you choose more carefully.
There were times when the existential dread was so rough that I would have traded some good old sexual anxiety for it. It is a pretty horrific thing to discover that we might be finite mortals. There were moments in college when I would have given anything to be a struggling queer Christian.
“When we do have representations of older people onscreen, it’s usually for comic, rather than dramatic effect. There’s a notion that once you get past 60, you stop thinking, and stop trying to evolve. This film is about two people still dealing with their choices and feeling that there are more choices they can make.”
“I am not a political commentator. But as an artist, I feel that the authorities must allow dissent. There has to be a space for protest in society. There has to be freedom of expressing our disapproval of the state of things as well. This right cannot be taken away from the people.”