![]() It’s creates a subtle sense of unease with the audience, especially on a wide lens like the one we were using, and once we set it up, people subconsciously know this also means the object is important. ![]() For example, there are quite a few shots where Gitty is running to pick up an object and we pull back to reveal it as she moves towards camera, and that became a thing we did over and over with different important objects in the movie - the chicken, the chessboard, the ax etc. Hamilton: I really wanted to combine a del Toro kind of movement and playfulness with a Kubrick style use of lenses and angles, and a Fincher kind of color awareness, so we really studied Pan’s Labyrinth, The Shining and Se7en before shooting began, and came up with our own short hand language for the visuals. How did you develop the film’s visual schema and imagery together, and what production choices did those ideas lead to? All of their choices for the period are really brilliant, but subtle so that they don’t draw attention to themselves.įilmmaker: Describe your collaboration with your DP, Wyatt Garfield. The challenges were mostly for my production design and costume teams, but I think they had a lot of fun with it, too. We don’t really see the past clearly, we romanticize it, and so you can use that to make a story that is set in the past seem timeless instead of dated, provided you handle things with a soft touch. Hamilton: Setting it in 1982 allowed me to talk more freely about an important political and social issue - the disenfranchisement of middle America - but it’s also what makes American Fable a timeless story. American Fable really tests our concept of right and wrong and argues both sides for every character, and that’s part of what makes it a strong story.įilmmaker: Why set the film in the 1980s? What challenges did that that confront the production with, and how did you surmount them? I think great films do both of these things. The study of law is different - it trains you to be able to argue both sides of a viewpoint. Philosophy is a wildly imaginative discipline because it trains your mind to see the limits of human experience in a systematic way and to come up with scenarios that test our intuitions about what the truth and the good are. Hamilton: I just love philosophy, and I was the president of the philosophy club in college, so that probably tells you something about how much of a nerd I am. How did you left-turn into filmmaking, and how do you think the study of those disciplines influenced your choice of material and your approach as a director? Below, she discusses her career path, the political dimensions of her film and what she learned from Malick.įilmmaker: This is your debut feature after studying law and philosophy. Before beginning her career in film by working on the set of Terrence Malick’s The Tree of Life, Hamilton studied law and philosophy, and, as she relates below, she applied aspects of her education to her first foray as a director. World premiering in the Visions section of SXSW is American Fable, the debut film from 2014 AFI Directing Workshop for Women graduate Anne Hamilton. The film opens today in New York at the IFC Center. The below interview was originally published during SXSW 2016, when debuting filmmaker Anne Hamilton premiered her ’80s-set, gothic thriller, American Fable, which melds del Toro-esque fantasy with a critique of Reagan-era economic policy. American Fable, Anne Hamilton, Terrence Malick
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |