Carey Mulligan has been working hard and hard for more than a decade. Paul Dano's latest role as a Jeannette in the directorial review put an end to one of his most challenging pieces. 1960 In Montana, he becomes quietly more women after his husband loses his job and is desperate for a sense of security. It's a state that leads to difficult and even disturbing options.
In our interview, we discussed Jeannette's motivations, the process of entering into the role and how Paul Dano worked on his first film behind the camera.
How did you come to Wildlife?
I know Paul (Dano) and Zoe (Kazan) for ten years. Zoe and I spent Seaway together on Broadway. We shared a locker room and became very good friends. He was with Paul, so I met him through Paul. We have been friends for ten years and we are talking about working together. Especially me and Zoe. Because he was a writer, I was always saying that we should both write something that we can become. We both liked working together in The Seagull. He and Paul wrote together for four years, and Paul called me two years ago – I think it was Friday night. He told me to email you a scenario we did together and that I would let you know if you liked it. I read it right away and called him back. I think the next day I was telling her the story I was looking for, but I called her right after reading it, and you thanked me for giving her this part. Yes please. All very fast and easy.
Your character, even in his failures, starts very supportive of his husband (Jake Gyllenhaal). After all, Jeannette focuses more on survival and safety. In the dinner scene, it ends dramatically with Warren Miller (Bill Camp), where he reaches out to a rich man in front of his son. He looked desperate. This scene was a tension for me.
SHE IS that 1960. There is no skill set or higher education to guarantee any real employment. You look at someone who tries to tie up to someone who can support him. He has a 14-year-old son to feed, wear and marry. I think he's disastrous, but I don't think Jerry is out of the possibility of being back, he dies (he fights fire in the mountains). Now on his own. Going to Warren Miller represents everything he has never experienced with Jerry. He is stable and safe and rich. She lives a very different life. I think when she was young, she imagined a life like that. I think I'm going home, presenting his son as part of the package. If you take me, my son will come with me. It seems very inappropriate to take her (her son), but thinks she's doing the proper thing. If I go into this thing with this guy, if he is the one to save me, he will save my son. Thus it was introduced (Warren & # 39; a). What she wants to do is reprimand her for dinner so she doesn't answer correctly to questions about which university she wants to go to. He gets some alcohol, but he tries to align himself with Warren Miller, and he loves his son. But Warren doesn't play the game. That'il throw him away. And he's faced by his son. He's just there with him. Just seeing your face is a reminder of your real life and your husband. This is a bit of imagination. Therefore, he must change both beats on the stage and approach from a different angle. I guess when he tried to excuse himself … I think he could reset what he did and come back from the bathroom and crush it. But then he gets up and all the alcohols go up in his head. You know what you're doing when you sit down and drink, and you think you're good, and you're standing up and suddenly you know that you're going much more than you think. He wasn't perfectly mapped, but we had a good idea of what he was going through.
When the scene comes to an end, and Jeannette and her son get into the car, it seems like she's made a narrow getaway. But then Jeannette is coming home and her son kissing them and maybe seeing more. What do you think happened in his head?
I didn't play on my mind because they were coming back to give them a kiss or something. I think he's coming back to fix what happened before. I don't think he's going to take it any further, I think he'll come back to get his dignity back. . Joe is bored, fır he says, exploding. I think he's going to go back to being more restrained and grown up, and then he gets to kiss.
Wildlife reminds me of the Road to Revolution and the inner scenes in the Tree of Life. Where a woman is dependent on the man, but does not fully know her place in the world, man fails under the weight of expectations. Did you feel any connection to other studies that you see or are part of?
No, I did not. Of all the scripts I've read, this was one of the most complete writing pieces I've ever encountered. Most of all, with Jeannette, you feel like there's nothing to add, nothing to add, nothing to edit – the character was just too clear on the page. They gave him too much complexity and wealth. I'm sure I've been consciously thinking about things that inspire me, and certainly these movies have both, but I'm not actively involved in this role. Because I felt that he was unique, and I understand how excited he was on the page.
In this film you should play a lot of inner emotion, which is just below the surface. Can you talk about this challenge?
I think it's the part that pushes her most when I go. When I had a handle on her, she wasn't feeling it. My first shot was at dinner. This was a very difficult place because it was absurd in the middle of the week of the identity crisis, so I couldn't adjust where it was. We've done it a lot of different ways, and Paul's done it. I remember the message the next day and I don't know what it is. It was obvious what you were thinking when you wrote this scene. We did this and then we went to Oklahoma, and Jerry and I did the utensils at home. Later, after several scenes with Jake, it was at the top of the story – when they were together or lost their job, these scenes were taken first. Then I started to make sense of her and it wasn't too hard. Things with Jake at home, we found a really great way to work with Paul, and sometimes we felt we had a live theater. It was exciting. It didn't feel so hard, I had fun.
How was working with Jake?
It was wonderful. Jake and I met the brothers. There were 25 seconds in it, and that was about ten years ago. We've been friends since. Jake and I have almost missed a few opportunities, and it didn't work. We read a game together once and we didn't finish it. We were so comfortable with great friends. Great to work. Like a lightning bolt. Nothing is the same. He's always trying to throw things in my mix to make things different. It was the same thing as making scenes with Michael Fassbender in Shame. I always felt like they were raising my game. Which is just the best way to work.
It was hard to believe that Paul was his first film as a director.
I've known Paul for a very long time and he is the most calm, smart and wonderful man. It has so much energy and is very pleasant to hang out with. Within 28 days, there was an independent film shots, less film, I could see him cracking at some point (laughs) or thought that I could see him slightly whispered or shuffled and I never did. Still, it was a quiet and quiet photo all the way. I really think it's a big part of creating the environment that makes it possible for us to enter these scenes. It was one of those sets that was so creative and wonderful, and it did. He clearly understands his acting, because he was one of the greatest actors of his generation, so he was very intuitive about his performances and making notes. You start with the director and the director's attitude feeds everyone on the set. He was the best. So everyone wanted to do their best work. You never know that in a million years it was his first feature.
As I watched the film, I could see Paul as a part of his son at a much younger age. He needs to be so reactive and his eyes speak for him. An acting Paul type is really good.
I didn't speak for Paul, but I definitely think that while you're reading the book, it's your son's character to which he really belongs. It was deeply affected by the child's experience. I think that's definitely true.
You often get attracted to more intimate projects. Is this design? You've achieved success in larger movies like Gatsby, but you're going back to these independent films.
It's really only about the role. Daisy was just a fascinating role for me in The Great Gatsby, a huge film where we've prepared a lot and got a huge release. If they did a version for $ 5 million, I'd chase it. I follow the best part between making games or making movies. Perhaps it sometimes plays a lesser role and wants a part of a director's vision. I wanted to work with Nicholas Winding Refn (Drive) and Dee Rees (Mudbound). It was less to say that the role on this page was initially unusual and that the director believed more to raise everything to a different level. It is often the best combination of role and director. This tended to be more for me in the indie world.
I am actively angry that Mudbound will not receive any further Oscar nominations. This is a great movie. I know that Oscars don't necessarily have to do this, but they often have more options for talented people.
That's the truth. And it also encourages people to give a chance to make such films. It is similar to Wildlife. If we want to see the movies about real women on the screen, we should take them to the movies. It makes a difference.