00:08Iniziamo al principio, puoi dire un po' del genesis del film e come Matt Damon e Casey Affleck
00:14venivano?
00:15Matt Damon e John Krasinski venivano a me tre o tre anni fa, e avevano una idea per un film
00:22e volevo scrivere, Matt lo dirige e John lo dirige.
00:27Then John's schedule changed and Matt was going to direct it and be in it.
00:31Then Matt asked me to direct it and then Matt was going to be in it and then he became
00:34unavailable and we offered it to Casey.
00:37Ok, so in the movie I feel that the elements are very important like water and fire and the snow
00:44that kind of reminds me of the ashes.
00:46Can you tell me how you combine the elements with the emotions of the characters?
00:51Well, it was just the backdrop at first and then it seemed to become an important part of the story.
00:59The very important part of the story is that they have to wait for the funeral because the ground is
01:03too hard to bury the father.
01:06Casey Affleck, Kyle Chandler's character dies early in the film and he has to be buried but he's in an
01:13old historic New England cemetery and they have to wait until the spring to actually have the burial.
01:18So that delays the departure of the uncle from the town a bit which is very important for the story.
01:25And I didn't think so much about combining the elements with the narrative in any kind of metaphorical way.
01:31It just worked out that way and I think the, I suppose in a sense the presence of nature and
01:37the presence of the town is a counterbalance to the distress of the main character.
01:43And I suppose sometimes a reflection of it but I don't think about these things literally when I'm writing them
01:48or directing them.
01:48Later I can look back and say oh, oh the weather and he gets, turns into spring and he thaws
01:54out a bit himself.
01:55But I didn't think of it that way initially.
01:58Casey Affleck gives a very intense performance. How did you work with him?
02:02Very closely for, very closely for the whole six weeks and we rehearsed a bit before and he's very intense,
02:10very focused, very, asks so many, many questions.
02:15And we both tried to imagine ourselves being this man and tracking his behaviour and the way he, the way
02:22he gets through his day and what happens when something throws him off and just track everything about him throughout
02:30every single scene.
02:31He's very specific. He asks so many questions and he always wants to know more.
02:36And the music in the movie, I feel that it has a very important part. How did you choose the
02:43music and to work with?
02:46By instinct and the composer Leslie Barber who wrote some of the choral pieces. We just, I didn't have an
02:54idea for the music initially.
02:55I, we just tried different things in the editing against the picture and what seemed to work becomes, is right
03:03away you feel if something's working or not.
03:05And the music that, that we ended up using just acquired a certain character that I, I don't know what
03:12it does for the film exactly, but it seems to balance the, some of the darker elements of the film.
03:17I think it reminds you of the, I don't know, I, I didn't think this ahead of time again, it's
03:23just my reflecting back on it.
03:25It just seems to balance the, the, some of the, some of the difficulty and, and, and sorrow and intensity
03:31that the characters are going through.
03:33It's, it's like when you're having a very hard time and you suddenly come out and you driving and you
03:39come out to the sea and suddenly everything opens up.
03:41And you feel sort of, there's a, a weight lifted off you in a way. And I think the music
03:45does that a bit for the film.
03:47Uh, but it wasn't my intention. I just wanted to put in music that felt right.
03:52And also the locations are very important. And how did you choose?
03:56Well, the town was chosen somewhat arbitrarily. That was just the town in the initial pitch that John and Matt
04:02gave to me.
04:03And that sounded good to me. I had been to that area a few times. It's about 40 minutes north
04:08of Boston.
04:08And it's a very old fishing community in, in, uh, it's the oldest fishing community in the United States.
04:14And, um, it's, once you go there, it's just suddenly, it's like opening a treasure chamber.
04:22It's just everywhere you look, there's something interesting to film.
04:25And, uh, it's a very specific, particular life there. The combination of very wealthy Bostonians and working class, uh, community
04:34that supports them.
04:35And also the, the fishing community that's changed a lot over the years.
04:39And it's everywhere you look, there are boats and water. It's, it's, it's a peninsula and it's shot with inlets
04:45of water.
04:45There's water everywhere. There's rivers and streams and the big harbors. And so you can't get away from it.
04:52And it's very, I don't know what it's evocative of, but it's evocative of something.
04:57Okay. Thank you.
04:58Thank you very much.
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