00:00Sentimental Value is about two sisters who were in their 30s
00:03and they're kind of trying to deal with why they perceive their family so differently
00:07and when they're trying to kind of get to know their kind of absent father
00:13who's been a famous film director and is not so famous anymore
00:17a lot of strange things come up
00:20so I guess it's about reconciliation in a family
00:22Du kan ikke bare lade sånn i kærebyen, kan du?
00:26Ja, bravo
00:27Ja
00:29I wish that I knew what I know now
00:36When I was younger
00:38I got to know her during the shooting of Oslo August 31st
00:56and I noticed how energetic and funny she was but I also felt that there was a potential in you as a person to play very dramatic
01:05open and vulnerable roles and after the worst person in the world
01:11to get over the fact that that film was quite successful and I wanted to make another film I felt it was very
01:17it was a wonderful thing to be able to come and have Renata play again because I felt we had more work to do together
01:27We kind of have a shorthand now and I know you better so I feel that I can hopefully support you in exploring new things
01:35I feel that Nora is a bit different than Julie
01:37Yeah, she's very different I feel that we got to know working on the worst person we got to know each other better as people
01:45and we got to know each other better as an actor and we got to know each other better as an actor
01:52and we just started talking about new material and oh this is something that wouldn't fit into Julie
01:59but someday maybe we could do and then you and Eskeri started to write something that was very different from the worst person and Julie
02:12One of the great things with Joachim and Eskeri is that they really write for people and I don't think they're
02:18you don't think about gender when you write you try to write a complex nuanced person and of course I will have some other experience than you have
02:29but that is of course very open and it's an open process and we talk about that and
02:37and you take ownership of your characters as an actor should and you've educated me on many things like for example in this film
02:44you play a theatre actor and I've never worked in the theatre so you could teach me a lot and give me a lot of inspiration about how that functions on a practical level as well
02:54so I think there's a good collaboration here of trying to explore a character
02:59To create an interesting film you want drama, you want conflict
03:04But the problem very often is that stories in cinema just become about a good and a bad person fighting it out and that's not very interesting
03:14I tried to create films where the internal conflict, the ambivalence, the vulnerability of close relationships
03:23Why don't we know how to talk to our parents or why are siblings so different or what's the meaning of it all
03:30like those internal things trying to create stories around that and then I hope for this one actually to make something
03:37I wouldn't say comforting because it is a bit of a melancholic film even though it has humour and everything
03:43but to create a space at least where people can feel a variety of emotions that's not so easy to talk about
03:51all that stuff in families for example between parents and children that we don't have a language for
03:57but maybe there's a way in cinema to show that void, that unspokenness
04:01that would be something we've been talking a lot about
04:04It's a lot easier the more complex the characters are written
04:08and the more a director also wants to explore something in an existential way
04:15For me it's a lot easier, you can go as far as you want
04:19So I feel that all these matters and all these themes that Joachim and Eskel write about
04:28and Joachim directs is really, it's a little bit like you said
04:35like you have a lot of emotional weight, you have confusion, you have some big questions
04:42but it's all done with a lot of love and acceptance and care
04:46and that's what I love about Joachim's movies
04:49I think anyone who's lived for a longer period of time, particularly in childhood
04:53in a place, a house, an apartment, something, you know, you have an understanding that
04:59the same spaces will be coloured with such different emotional experiences
05:04and I find that fascinating
05:06In the entrance area of your childhood home
05:09you will come in and be cold on your feet in the winter
05:12and you'll come in sweating and warm in the summer
05:14and you'll fall in love and then you'll break up
05:16and you'll go through any human emotion in those same spaces
05:21and we talked about like the childish notion that is kind of fantastical
05:27what if the house could see us or carry our memory
05:30wouldn't the human life seem kind of small and short?
05:34you know, and how could that play into two sisters trying to deal with the short time they have left
05:42with a father who they don't really know how to get close to
05:46I think that played into each other
05:48I think if you make humanist stories or human stories like we do
05:53it's unavoidable that you have to take parts of real life, parts of experience, parts of people you know and love
06:01into it because the questions you're asking about that life experience
06:07are valuable emotional triggers for the work you do in front of the camera I'm sure
06:11and for me in writing and directing
06:14it's a mystery to me how it works
06:18I get very emotionally engaged in the projects
06:22later I realise that I maybe revealed something of myself that I wasn't even planning to
06:28and going in of course I think about my life
06:32but I never in any film tried to say this character is me
06:36but it also is fiction
06:38it gives freedom to imagine
06:40it gives freedom to be a little bit mean to your characters
06:43or to laugh at them sometimes
06:45but also to care
06:46if it was me I would feel I would have to defend it all the time
06:49I don't know
06:50but it's different for you as an actor you actually become the character
06:53and not at the same time
06:55not on purpose
06:57no
06:58so the longer I analyse and I'm in the script trying to figure this person out
07:05I also think I'll find some things that I don't realise about myself
07:10and something that I express that I don't have an overview or control over
07:15but you feel this need to express it
07:18and then you see it later and you see what you have inside
07:21and you can meet something in yourself
07:24in the moments on set that you don't like or you love
07:29and then to have an audience recognise something
07:33and have those moments being valuable to some other people
07:39that's kind of the magic of this cinema
07:44yeah
07:45i know it's hard for it
07:49not my one
07:51he was so good for me
07:55he was a good person to get a job
07:56and do it
07:57tell him to tell him to tell him to tell him to tell him to tell him to tell him to tell him
Commentaires
1