COLLIDER: I was in this movie, hook, line, and sinker.
For the two of you.
BEN WHISHAW: It’s so unlike any other film I’ve read, and that was exciting.
Image via Sundance Institute
I wanted to work with Ira again.
And I love Peter Hujar, and I love Rebecca.
So it was many wonderful things all coming together.
Image by Photagonist
REBECCA HALL: Same.
[Laughs] It is a real peculiarity of a film.
Nothing happens.In fact, everything that has happened happened somewhere else.
Also, it’s about people that we know aboutwell, Peter Hujar, not necessarily so much Linda.
But there is that sense of a time capsule of a moment in New York.
But also, it’s not.
Image by Photagonist
Its like any time capsule.
That’s why we have film, actually, so we can hold on to something.
Very eloquent and true.
Image by Photagonist
I don’t think of it so much as the past.
You want to get as much detail as you might into it.
And I think the text also brings a kind of authentic detail of time because it’softhat time.
Image by Photagonist
I worked with Stephen Phelps, who’s a great production designerhe hadAnoraalso this year.
He had an empty box of an apartment.
Everything is built or painted or just brought in, so there was nothing there.
Image via Warner Bros.
We channeled something about Westbeth and what it is to be an artist in New York.
You aren’t avoiding things that actually make a mark.
So, like, what is the piece of furniture?
What is the couch?
What is the rug?
What is the bedspread?
Each of these things makes its own mark.
What the hell is it like for you in the weeks leading up to filming?
WHISHAW: It was just work.
You just have to put your head down and learn it.
I found that whole thing actually very interesting.
I would just carry it everywhere with me.
This was something you did alone.
I didn’t help him in any way except hand it to him.
Then there was this task.
So it’s just interesting how it was an artistic, isolated action.
WHISHAW: Yeah, it was nice.
There’s no place in New York City that you’re free to do no money now.
Can you talk about what you learned about that period and what surprised you or what you romanticized?
SACHS: That’s very true.
I think all artists' lives are formed by their relationship to the economy.
That’s true with every artist of any sort.
I feel like that was just normal daily life.
I think for artists that really was meaningful, along with the drinking.
Is there anything you’d like to add?
I have fascinations with many artists, filmmakers, conceptual artists from that period, and musicians.
I don’t know how it’s sustained.
There were always those people around.
But not really with my mother so much.
I don’t know.
It’s an interesting question.
You guys shot on 16mm.
What was it about that format?
I guess that’s why I chose it.
The movie is 75 minutes.
Was there a producer or someone saying, How do we get it to 90 minutes?
Or was it like, This is the art, and it’s going to be this length?"
SACHS: The latter.
The film was going to be whatever it should and could sustain.
I think that was something I was trying to discover.
It’s interesting that you call it an action film.
WHISHAW: But youre right, Ira, it’s not a durational film.
It’s not like you’re asking us to feel like we’ve sat through those hours with them.
It feels poetic, more than that.
SACHS: It’s a film that’s based on movement.
SACHS: Well, two things.
I woke up with a series of images that suddenly seemed to say, this is the film.
And I say that because I was very concerned.
These are films that were a camera, a person, space, but also cuts.
Cuts are being used.
So that really gave me freedom or trust or permission.
I read that there were no rehearsals on this.
Do you enjoy not rehearsing or do you want rehearsal?
And what was the benefit of not rehearsing for this?
WHISHAW: Ira never rehearses.
It’s not what you want to do.
But you still have to find it.
And that was limited somewhat because we were working with film, but it’s still a process.
It’s just thatyou’re starting to shoot it rather than rehearsing to nothing.
But it was a real risk.
I thought on day one, to be honest, that I’d made a mistake.
I don’t know if I told you that.
WHISHAW: No, you did tell us that.
[Laughs] Because we reshot the first day.
We were very aware of it.
SACHS: Because we had not rehearsed.
I thought that was really a great idea.
That was maybe a terrible one.
There are just moments that are discovered between the two of them that have to do with the instant.
One of the characters in this movie is still alive.
Talk a little bit about what it was like talking to Linda and what you gleaned from those conversations.
It’s a huge luxury.
HALL: Yes, it is.
I think that it was helpful I was able to talk to her.
I didn’t want to ask her things about that day or specific things.
In a way, I wanted to not hem myself in.
ButI did want to get a feel for her, so we just talked.
We talked about life.
So, I had her voice with me, as it were.
I’ve met her before, but Rebecca has never met her in person.
HALL: No, I’ve only ever spoken to her on the phone.
Has she seen the film yet?
SACHS:She loves the film.
HALL: I can’t really tell you what it was.
We connected, and that’s really all it takes.
A lot of acting is just acting off of that kind of connection.
I am a big James L. Brooks fan.
He has not made a movie in 15 years, and you are inElla McCay.
HALL: I am.
What the hell was it like being with James L. Brooks?
What can you say about the movie?
HALL: It was really dreamy.
It was a real trip.
It was sort of everything I wanted it to be.
I had a great time.
Great other actors, as wellWoody Harrelson and Jamie Lee Curtis.
Emma Mackey is fantastic.
I had a really good time.
SACHS:Christineis like the antithesis ofBroadcast News.
HALL: It is.
It’s like the opposite on the color wheel.
What can you say about the character you play?
What it’s about?
I’m not sure how much is known.
HALL: I am not either.
Youve blindsided me, and I’m not sure how much I’m allowed to say at this point.
I won’t get you in trouble.
I’ll just say you had a good time and lets leave it at that.
Ben, I watched all ofBlack Doves.
It’s a fun TV series on Netflix.
What can you say about Season 2?
WHISHAW:It hasn’t been written, so I actually can say nothing.
I know nothing about it.
That’s boring, isn’t it?
You’re not interested in that, but its the truth.
WHISHAW: It’s not written.It’s six months, or seven months away, or something.
It was a big hit for Netflix.
When you were making it, did you realize, Oh, this might be something?
Because actually it wasn’t very written when we did the first season.
I was quite terrified because there were not really scripts.
There were scripts, but this was particularly sailing close to the wire.
So, somehow, it came together.
Do you know what else you’re filming this year?
This is for both of you.
SACHS: Were going to make a film.
WHISHAW: We’re going to make a film together.
Now we’re talking.
Have you written it yet?
SACHS: Unlike these things, we actually do write a script.
These things that they make for other forms of media.
Oh, I have to do a follow-up.
Can you tell us the title?
SACHS: Its calledThe Man I Love.
You want to tell anyone what it’s about?
SACHS: It’s a film set in the late 80s in New York City.
Everything I’m hearing is good.
Do you know when you’re filming?
SACHS: Well, we have to shoot beforeBlack Doves.
WHISHAW: The summer.
We’re going to do it in the summer.
I won’t pressure you anymore.
What are you possibly filming this year?
I know what this is.
Oren [Soffer] shot this.
Yeah, I saw pictures.
HALL: I’m probably not allowed to talk about it.
It hasn’t been announced.
It’s being announced tomorrow.
I forgot I’ve got my days mixed up.
And then I’m also working on this Ryan Murphy TV show calledThe Beauty.
I’ve heard about that.
HALL: What else am I doing?
I’m doing other things.
I can’t remember.
There are other things going on.
There’s a lot going on.
I’m angling for a walk-on part in this movie, but I don’t know.
What about directing again?
HALL: I’m hoping to do that.
I don’t know when that’s coming together yet.
I’m still working on it.
Do you have a script?
HALL: Oh yeah, I have three scripts that Im trying to get made.
SACHS: It’s so great and beautiful.
That’s good praise.I definitely want to ask you one other thing.
WHISHAW: Is it aboutCloud Atlas?
No, but do we all want to agree that it’s a masterpiece?
Because I feel it’s a masterpiece.
Have we all watched it?
HALL: Ive never watched it.
You have not watchedCloud Atlas?
That’s my review.
SACHS: Were going to go watch it this weekend.
Have you not seen it either?
Ben, these are not your friends.
SACHS: I didn’t even know you were in it.
[Laughs]
He plays more than one role.
WHISHAW: It is actually quite a wonderful film.
And you’re friends with Lilly [Wachowski]?
I work with Lilly in an organization calledQueer|Art.
Lilly is a mentor for queer mentorship, which is a program I started.
Can I ask you a favor?
Give me your word.
You’re going to watch it.
SACHS: I give you my word.
I feel ashamed I haven’t.
I’m teasing you guys.
There’s a million things to watch.
SACHS: Ive never seenJeanne Dielman.
Yeah, but that’s okay.
I am a fan of your work.
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