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Director Derek Cianfrance: ‘That I as a child to ‘Days of our Lives” looked, traces left behind’

A conversation with the director of Blue Valentine, The Place Beyond The Pines and now the melodrama The Light Between Oceans, premiered at the Film Fest Gent. “This film revolves around the question: ‘Can the love children survive?”

Derek Cianfrance © REUTERS

Michael Fassbender, Alicia Vikander and topcomponist Alexandre Desplat: the guest list, The Light Between Oceans looks truly impressive. Fassbender and Vikander play Tom Sherbourne and his wife Isabel, a couple that decides a child, that she of death to save, to educate.

That story is not coming out of the tube, from director Derek Cianfrance itself, but of the author M. L. Stedman. Cianfrance based on the debut novel from Stedman, also The Light Between Oceans entitled. “I was myself and my ideas fed up’, the director recognizes. ‘Already, I was looking for a story to film. In The Place Beyond The Pines (2012) the possibilities were limitless. This time I wanted to myself limits, and so I chose to within the limits of a particular story to work. As a child in the garden playing, but not beyond the fence. Such a fence is sometimes pleasant, because you will then be required is the available space as optimal as possible.’

Why did you choose just for this novel?

CIANFRANCE: I have a lot of scripts and books read, but could do nothing for a long time to find that me useful it seemed. To Steven Spielberg, to me The Light Between Oceans suggested. Steven is an admirer of Blue Valentine (2010), he called it one of his favorite movies. What is striking is, because I think of Blue Valentine as a sort of E. T., without aliens though. And what was the result? The Light Between Oceans is a story that has the same issues, conflicts and questions which arise as I mentioned in my previous movies have done.

How did Stedman when she the movie for the first time saw?

CIANFRANCE: She was very helpful, generous and encouraging. The day that they have seen the movie, she has nothing to let you know, so I thought him hateful thought. But apparently she was that day is just not able to talk about it, because they all the time had been to vienna. The film gave her the feeling that she begrépen was.

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I hate editing, it’s terrible. I always say: writing is a dream, film is life, and mount … murderous.

The Light Between Oceans is set in the Australia of the early 19th century. A very different setting than in your previous films.

CIANFRANCE: Yes. That setting enthousiasmeerde me and participants wondering. But this film would be both a hundred years earlier as a hundred years later you can play. The issue here is mainly about relationships between people. The Light Between Oceans is a human tragedy, but on a oermenselijke place, and against an epic background. It is a melodrama.

What is your affinity with melodramas?

CIANFRANCE: As a child I watched every day with my mother to the Days of our Lives, yes. All of the series, I may have most of my hours spent. And that has traces left behind. How embarrassing it may sound like: Days of our Lives is simply in me, I can’t deny that. This story gave me the chance to get a really cinematic melodrama. There’s a lot of intimacy in.

You have a lot of good scenes from the movie have to cut?

CIANFRANCE: That happens in every movie, yes. I hate editing, it’s terrible. I always say: writing is a dream, film is life, and mount … murderous. I had for this film 209 hours of material. Of every 100 minutes, there are so a 99 is deleted. Mounting is such as sculpting. You just delete and delete and delete, until you finally the image result that you want to obtain. I stop always a lot of time in the assembly, because I want all the material a chance. But ultimately, it is the movie that is in the montagekamer takes over. I press the buttons, but it is the film his own way out, who tells you what he needs. And so it was that I ever had a scene with my mother out of a film cut to have, and one with friends, who are now no longer with me want to talk. (laughs) But in the montagekamer you should now once ruthless.

Was do not from this film eliminated: Michael Fassbender. How was it to work with him?

CIANFRANCE: He is a genius, always has been. When he Magneto, played in X-Men, gelóófde I really think he has a chair could be move with his brain. (laughs) The role of Tom Sherbourne, I have with him in mind written. Tom also has a very strong spirit, which to him points to the distinction between good and evil. His heart is cold.

And his female tegenspeelster, Alicia Vikander?

CIANFRANCE: Alicia brought herself completely embarrassed during the first casting. And therefore, she has the role. (laughs) She would not quiet to tackle. And if someone had I need for an intense melodrama as this.

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With the birth of my first son said my mother-in-law: ‘The love you have for this child feels, you will be the rest of your life miserable, because you’ll never stop you to feel’.

You could for this film also rely on the renowned composer Alexandre Desplat, known for his soundtracks for Argo, The King’s Speech, The Curious Case of Benjamin Button and The Grand Budapest Hotel.

CIANFRANCE: He is the best composer in the world. I got him early on in the process of the film involved, because I each character an instrument wanted to be – Isabel is, for example, the piano. I gave him the first cut shown, without music, something I have never done before. When he made the film for the first time had looked at, I thought that the project would be abandoned. “Your movie has no music needed,” he said. When I asked him: “Is this your way to tell me that you no longer have a relationship with me?’ (laughs) He is one of the most beautiful creatures I have ever met.

The construction and deconstruction of love, is usually central in your movies. How was that here?

CIANFRANCE: At the birth of my first son said my mother-in-law: ‘The love you have for this child feels, you will be the rest of your life miserable, because you’ll never stop you to feel’. The love for my two sons is indeed huge, that is not to be measured. But also my wife, I see doodgraag. It sounds logical, but as obvious is not. When two lovers get a child, they focus often exclusively on that child, and they lose their beloved, what from the eye. Hence, this film revolves around the question: ‘Can the love of children to survive?’

Bo Alfaro Decreton

Film Fest Gent

  • Director Derek Cianfrance: ‘That I as a child to ‘Days of our Lives” looked, traces left behind’
  • Peter Van Den Begin play the king of the Belgians: “I have king Filip is not imitated,’
  • Wim Willaert: “I have a holistic view on the existence of my characters’
  • This was the Knack Focus movie day according to Dave Mestdach: ‘Cinema is the ultimate zombie
  • Read all articles about Film Fest Gent

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