Anna - Jacques Toulemonde Vidal (wpatrywanie cz. 22)

Wizualnie wysmakowany, momentami nawet piękny, utrzymany w niebiesko-zielonej tonacji, a gdy sytuacja staje się bardziej napięta, dochodzą czerwone akcenty. Do tego światło i ciemność, które zmieniają się tak nagle, jak samopoczucie bohaterki. Naprawdę zacny debiut pełnometrażowy.

He’s a child, and it’s not always easy, but he had all the goodwill to do it. There are some scenes that were hard for him and that were hard to direct and to get the results I wanted, and I even had to force him a bit. When we did it, it was really difficult, but when I said, “Sorry, I had to push you that way,” he said, “No problem; that’s what I’m here for.” What’s great about him is that what’s there is raw. We tried to work without giving him the script, and he was always improvising.Podczas oglądania pomyślałem o Cassavetesie, a reżyser tylko potwierdził: I think it’s filmed in kind of a classical way – for example, another huge influence was A Woman Under the Influence by John Cassavetes. I see it mostly with the character of Bruno – he’s the kind of character who “rises” throughout the film. At the beginning, you don’t want to explain too much. During the shoot, I began to see Jerry Schatzberg’s classic film The Panic in Needle Park, and at that moment I rewrote all of the scenes. I try to work with emotion, which exists in the kind of cinema I want to make. And it also exists in the characters – they’re misfits who are fighting and suffering with normality, and trying not to “go that way”. That’s something I saw in Schatzberg and films of his like Scarecrow.When we began the shoot, I didn’t realise the difficulty of the task. I like to think my comfort zone is directing actors, but this was another level because of the difficult character of Anna, the kid and the journey itself. I wanted to work with more improvisation and playing with accidents to see if it went elsewhere. (cytaty stąd)