00:05For me, Anemone è un film anti-war, d'accordo?
00:09Sì, d'accordo.
00:11Penso che è difficile ridurre da solo una cosa, perché ha molti facetti,
00:17ma è sicuramente un film anti-war, tra altre cose.
00:21Un'importante elementare del film è musica.
00:25Come hai lavorato con il composer?
00:27Yeah, so Bobby Krillick, I had seen his work on Midsommar and Bo is Afraid
00:32and just thought he was a genius,
00:34and so I was really excited to be able to work with him,
00:37and we didn't actually have to talk very much in the early stages.
00:42I was just amazed by how intuitively he understood the film's tonal and visual language
00:49and how that related to the soundscape,
00:52and we were thinking about shoegaze a lot as a genre.
00:55I had this playlist that had a lot of shoegaze music from the early-mid-90s in it
01:02that was relevant to the film's era,
01:04but also just tonally became actually a North Star.
01:08I had been playing these songs for the other heads of department
01:11to kind of help get everyone on the same page tonally,
01:15and so, yeah, he kind of expressed it in this way that I hadn't been able to up until that
01:21point,
01:21that shoegaze has this, there's this coarseness and this aggression to the distorted guitar
01:27and these layers of sound that's very kind of intense and overwhelming and kind of, yeah, aggressive,
01:37and then there's also these very delicate kind of ethereal vocals kind of poking out from underneath that wall of
01:43sound,
01:43and which have kind of like a spiritual quality,
01:47and that became kind of relevant to the repression that we felt was kind of through the whole film
01:52and Ray having these almost spiritual experiences that are kind of prodding through this wall of time
02:02and of the kind of shelter he's built for himself.
02:07Another important element is the location. It's very impressive. How did you choose it?
02:13Yeah, so it was Anglesey off the coast of Wales. It had certain natural locations
02:20which were just insanely well suited to the film, like there's a beach on Anglesey
02:25where the forest just immediately gives way to the beach, to the sand,
02:30which is something you never really see, and there's just kind of this wall of trees
02:34that right in front of these sand dunes, which was how we had written it in the script,
02:38and we weren't sure if we'd be able to find that exact kind of something that actually matched that,
02:43so that was great, and then there was a forest location which was ideal for the hut
02:51that was actually very close to a soundstage, so we were able to build,
02:55we had our on-location version of the hut and then we had a replica of it on the soundstage
03:01for shooting night scenes and being able to remove walls and get certain shots
03:06that we wouldn't have otherwise been able to get on location, so it just became like a really...
03:11Yeah, the combination of these incredible natural locations and the proximity to the stage was great.
03:20The storm, the aisle sequence is impressive. What significance it has for you?
03:27Yeah, I think that when we were writing the script I knew that there had to be a storm at
03:32some point,
03:33I think because of the seeds that had been planted in terms of the weather and the kind of aliveness
03:37of the wind
03:38and the way that the natural environment was kind of... the ambiguity of whether the natural environment
03:46was indifferent to human suffering or reactive to it, I think I felt that there had to be almost an
03:52acknowledgement
03:52by nature of everything we'd seen up until that point and there had been a lot of talking
03:58and a lot of these attempts to kind of communicate between each other in terms of the characters
04:03that it felt like at a certain point words had to run out and something else had to step in
04:09to kind of fill that silence
04:11and so the hailstorm kind of became that and yeah, it has both a brutality to it but then there's
04:19also this beauty to it
04:20that felt the tension between those things felt important.
04:24Thank you so much. Thank you. Thank you. Thank you. Thank you. Thank you.
04:28Thank you.
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