‘Aporia’ Director on Casting Judy Greer & Crafting a Time Machine
The Big Picture It’s not every day that you come across a sci-fi thriller that feels like it can actually happen. A film so grounded in reality, despite having a premise that deals with time travel and reversing one’s fate. That’s exactly what writer-director Jared Moshé crafted in Aporia, a film that explores grief and the moral and ethical lines one will cross to protect those that they love.
JARED MOSHÉ: That's a toughy. For me, I loved Westerns growing up, which is why I made two of them. You know, Sam Peckinpah, Sergio Leone, I feel like, were the two that just blew me away. The Wild Bunch, The Good, The Bad and the Ugly, and Once Upon a Time in the West, and watching the way those people were able to convey this totally mythological world in a way that felt so real and so visceral and so operatic even in its violence.
Yeah, I like what you said about fearing losing a close friend or something because I feel like that could be almost worse in a way than a family member, to some extent. Like a friend that you've known all through your life, losing them. I can't even think about that. I love the way you cast this movie. Especially Judy Greer, the lead. I've loved her for years.
MOSHÉ: No one else could do that, what she does. It’s incredible. You know, she's got this movie, she's got the Michael Shannon movie [Eric Larue] that's coming out that premiered at Tribeca where she gets to play a lead in a drama. I'm really hoping that Judy is gonna get more opportunities because she 100% deserves them, and the world would be a better place for it.
That's funny you say that because as I was watching it, I was like, this script is so tight, there's no fat on the script, and I really appreciated that. It's so easy to have characters say things that could have just been shown.There are a couple of lines that really hit me when I was watching, I wrote them down.
Yeah, there's a lot going on. Was that always how you envisioned the machine, or did the props people take it in a totally different direction? MOSHÉ: No, I kind of figured that out as I was going. I needed a specific thing for that moment that felt right, and I went to Hamlet. I love Hamlet. Hamlet's one of my favorite plays, one of my favorite memories. One of my top five theatrical experiences was seeing Ralph Fiennes do Hamlet on Broadway, and it was just like, “Whoa!” I try to see every version of it, and I watch it, which is really cool.
To me, when I'm directing action like that, I'm always interested in the experience and the emotional experience of the actors, of the characters, and trying to convey that.
[Laughs] The shoe thing kind of brings me to another question I had, which was, was there anything unexpected that happened on set—I'm sure as a director, you have to allot time for things to go wrong—was there something that maybe didn't go as planned that either worked out unexpectedly or that you just were like, “How am I gonna deal with this?” And how you got through it?
MOSHÉ: So before I started writing the script, really, I sort of did research on how I wanted this machine to work and thought about it and did research on, like, quantum mechanics and tried to figure out particle accelerators and abstract particles. Just enough so I could kind of understand something of it. And the thing is, I never wanted this movie to be Primer. I love Primer, Primer is a great movie.
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