We’re living in a moment for urgent, quickly made political storytelling in Hollywood—and Todd Haynes is leaning in
Well, one thing that's marked this decade is that I've started to direct movies that I didn't write and develop myself. That's been an amazing experience for me. It's crowded up and diversified the process of filmmaking, but also it surprised me, and it's alerted me to different modes of practice.
Yeah—and isolation and space and class in a really, really distinct way. That really attracted me to the story, among other things. Well, no—on the one hand, I saw through lines, and on the other hand, I was doing something very different. To me, it was really like,What is it that I love so much about movies like this? Because I do.
That’s exactly what interested me about the project. So many of your films are interested in social class or, if not explicitly about it, just really attuned to it. Even knowing that, I was surprised that it plays such a deep role in the psychological portrait of this particular story.
Rob was extremely open. I kept hearing about how guarded this guy is and how restrained he is and how you have to lure him out. I found him lovely to be with and forthcoming and honest and open. He said, "Parts of this process were the loneliest things I've ever encountered in my life. I was scared for my life. It took a toll on our marriage. This was really hard on Sarah." He really, really shared what it was like, and as did Sarah.
I'm glad that you mentioned the visual landscape, because something I always wonder about you is what your visual approach to the material will be—you're very careful. This genre of thriller, about people working within and against the system, could look like any number of things. Michael Mann’s whistleblower movieis completely its own thing.
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