00:02perché non hai voluto questo ruolo voleva che lo facessi tu non posso lavorare con lui
00:16non c'è comunicazione mio padre è una persona piuttosto difficile
00:24I think I wanted to touch on several things it started with the story of two sisters miscommunication of family
00:32sibling bonds and then suddenly the absent father appeared in the writing room and we were like oh my goodness
00:39we can do a more polyphonic story several characters and see yeah what is it that makes it so hard
00:47to see each other in a family and then suddenly the father could be a film director and we could
00:51work with the idea also
00:53suon top of that about children dance and sing most people stop doing it some
01:00people continue how is it that this patriarch is kind of locked into his own
01:05sense of power and absence and doesn't know how to reconcile himself with the
01:10daughters could be such a gentle person in his movies that that's strange you
01:15know mixture of being there or not being there you need to be there for your
01:20children that there and then this is absolute and as a director I know you
01:24need to be there and then when you shoot it's so important every moment the
01:28possibility of the actor the performance and this this then all the director who's
01:34who's kind of great at one thing and not the other so a lot of stuff really that
01:38we try to get into this one
01:56because the characters are actors and filmmakers it's the film is not in
02:00per se only about that but it gives me a way of peeling away layers because you
02:05see different modes of communication to really talk about how parent child
02:10relationships transfer so many things that are unspoken
02:29we thought that opening a film like this with a child's perspective on a house I
02:35mean we all have some sense of a family home most of us have an apartment a
02:39house whatever but we know that some of those room encapsulates layers and layers
02:44of memories you know coming into the house during winter during summer happy
02:49day sad days all of that drama and then we got this idea what if one of the
02:54sisters who now adults thought about as a child when they wrote a dissertation in
02:58school in English class you know what if the house could see us what is the story of
03:03the house as a subject and through that we were able to hint at a bigger scope of
03:08of human life
03:12come è possibile che la nostra infanzia non ti ha rovinato
03:22it's such a joy working with Renata she had a small party in Oslo August 31st then she was the
03:27lead in the worst person in the world
03:28a joyful collaboration for both of us I believe so that was really great and so I
03:32yeah wrote another role for Renata we sat there Eskil Fucht and I my co-writer and
03:38we started almost with the character of Nora this person who is opposed as
03:43opposite to Julian the worst person in the world is that is now a grown-up
03:47person with a successful career as an actor but at the core has a big sense of
03:52solitude and disconnectedness so how to put that into family story interested us
03:57and then on top of that really also writing for Stellan Skarsgård
04:04because I knew that Gustav Borg is a bit of a flippant you know he slides in on a
04:10banana peel funny charismatic the kind of sly absent father at the outset maybe
04:15quite a narcissist but actually with Stellan Skarsgård who's rather the opposite we
04:20could give warmth and and more three-dimensionality to Gustav and to see
04:24the journey that discovering the revelation for him as well about about
04:28how he's actually you know at the core of it also a her child
04:30I think it's really great to have El Fanning play Rachel because El has this
04:48extreme range of she's so glamorous she's a star on one hand but she's also a
04:53really genuine warm actor who can really go there emotionally you know and
04:58explore and for me I I'm fortunate enough and I also kind of demanded if
05:03people wants to work with me and I want to work with them that we really get
05:06some time together to rehearse and we all did and through that we could try to
05:10find the nuances also in Rachel Kemp El's character and how how she's actually
05:16doing something very sophisticated where she's kind of playing someone that's
05:20playing and then you see the genuine underneathness of that and it's no I'm
05:24that was it that was a real joy to work with her
05:26you know so guess that I don't have to
05:31you really do it I think that the the the core there is that father-daughter sad
05:37love story in a way of of how they are almost unable to even talk without
05:42quarreling because of past because of things that are unspoken and I think
05:47that I actually stole a little bit from the structure of screwball comedies you
05:53know the the remarriage structure where you have you kind of understand who
05:58should really connect
06:05and then there's the American actress in this case who comes in and takes the role
06:09in his film that his daughter doesn't want and how that all plays out but
06:14it's the structure is there to reveal human experience it's not there for the
06:18plot itself I think I think that's an important aspect of this film
06:21well you were the best thing that happened to me
06:25The best thing are you?する
06:27the best thing being said and
06:28because you never arrived? 0
06:31e
06:320
06:34yen
06:350
06:350
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