"I knew that thematically I wanted to do a story about two or more guys who were going to be close at the beginning and because of the introduction of this power and changing what’s at risk, they were not going to be able to be near each other at the end. I didn’t know if they were going to kill each other or if they were going to be at war."
"I try to figure out what the structure of the film I’m writing about should be based on and keeping myself open to not knowing what that means. To play around, get excited, go in a certain direction, then shift things around—it‘s an evolving process."
Upon returning from Cannes with a Palme d’Or in tow, Elephant was not infrequently assailed stateside as incomplete and inchoate, excoriated for all the things it of which it wasn’t enough: it wasn’t enough of an answer, it wasn’t enough of an insight, and frankly, it wasn’t a film of enough substance.
New media has relentlessly dug its cyber-claws into the heart of cinema for over 20 years now, constantly raising the bar in an industry of simulacra manipulation that seems to be entirely without limits.