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
00:31of family sibling bonds and then suddenly the absent father appeared in the writing room
00:38and we're like oh my goodness we can do a more polyphonic story several characters and see
00:44yeah what is it that makes it so hard to see each other in family and then suddenly the
00:50Il padre potrebbe essere un film director e potrebbe lavorare con l'idea, anche su questo,
00:56sulle donne, danza e cantare.
00:58Molte persone stoptano, molte persone continuano.
01:01Come è che questo patriarca, che è in un suo senso di potenza e l'absenza,
01:08e non sapeva come si riconcilia con le donne,
01:11potrebbe essere una persona gentile in i film.
01:13Questa strana mixazione di essere e non essere.
01:19Non bisogna essere qui per i bambini,
01:20la «there» e «then»-ness è assoluta.
01:23E come direttore, sei,
01:24che bisogna essere qui e «then»-ness.
01:26Quando si riconosce, è importante ogni momento,
01:29la possibilità dell'attore, dell'attore, dell'attore, dell'attore.
01:31E questo è un direttore,
01:33che ha creato una cosa e non l'altra.
01:36C'è un po' di cose che abbiamo provato.
01:47Non puoi far finta che lui non ci sia.
01:50Posso provarci.
01:52È lui.
02:16Come lavorare con Rachel Kent?
02:20È il momento di sederci un attimo.
02:24e parlare.
02:27Forse non è facile neanche per lui.
02:40C'è un po' di cose che avevano.
02:56C'è un po' di cose che avevano.
02:58in una scuola, in una classica inglese.
03:00«What if the house could see us?
03:02What is the story of the house?
03:03It's a subject».
03:04And through that,
03:05we were able to hint
03:06at a bigger scope of human life.
03:12Come è possibile che la nostra infanzia non ti ha rovinato?
03:22It's such a joy working with Renata.
03:24She had a small party in Oslo on August 31.
03:26Then she was the lead in the worst person in the world.
03:28a joyful collaboration for both of us, I believe.
03:30So that was really great.
03:32And so, yeah,
03:33I wrote another role for Renata.
03:36We sat there, Eskil Fucht and I, my co-writer,
03:38and we started almost with the character of Nora,
03:41this person who is opposite to Julian,
03:45the worst person in the world,
03:45is now a grown-up person
03:47with a successful career as an actor,
03:50but at the core has a big sense of solitude
03:53and disconnectedness.
03:54So how to put that into a family story interested us?
03:57And then on top of that,
03:58really also writing for Stellan Skarsgård.
04:04Because I knew that Gustav Borg is a bit of a flippant,
04:08you know, he slides in on a banana peel,
04:10funny, charismatic,
04:11but kind of sly, absent father.
04:13At the outset, maybe quite a narcissist,
04:17but actually with Stellan Skarsgård,
04:19who's rather the opposite,
04:20we could give warmth and more three-dimensionality to Gustav,
04:23and to see the journey,
04:25the discovery, the revelation for him as well,
04:27about how he's actually, you know,
04:29at the core of it also a hurt child.
04:41I think it was really great to have Elle Fanning play Rachel,
04:46because Elle has this extreme range of,
04:50she's so glamorous, she's a star on one hand,
04:52but she's also a really genuine, warm actor,
04:55who can really go there emotionally,
04:57you know, and explore.
04:59And for me, I'm fortunate enough,
05:02and I also kind of demanded if people want to work with me
05:05and I want to work with them,
05:05that we really get some time together to rehearse.
05:07And we all did.
05:09And through that,
05:09we could try to find the nuances,
05:11also in Rachel Kemp, Elle's character,
05:13and how she's actually doing something very sophisticated,
05:17where she's kind of playing someone that's playing
05:20and then you see the genuine underneath-ness of that,
05:23and it's, no, that was a real joy to work with her.
05:32I think that, at the core,
05:35there is that father-daughter sad love story,
05:38in a way, of how they are almost unable to even talk
05:42without quarreling because of past,
05:45because of things that are unspoken.
05:47And I think that I actually stole a little bit
05:51from the structure of screwball comedy.
05:53You know, the remarriage structure where you have,
05:57you kind of understand who should really connect.
06:05And then there's the American actress,
06:07in this case, who comes in and takes the role in his film
06:10that his daughter doesn't want.
06:12and how that all plays out.
06:13But it's, the structure is there to reveal
06:16human experience.
06:17It's not there for the plot itself, I think.
06:19Well, I think that's an important aspect of this film.
06:22You are the best thing that happened to me.
06:25The best thing?
06:26Mm.
06:27And why did you never come here?
06:28Am I?
06:31Oh, la, la, la, la, la, la, la, yeah.
