REPRISE
Q&A with Joachim Trier		 Search all of phase9.tv






Continued from page 1

At the moment are you looking forward to watching any films in particular?

Paul Thomas Anderson’s THERE WILL BE BLOOD, someone leaked a trailer on You Tube and it looks very, very interesting. I was fortunate enough to see a rough cut of the new Wes Andersen movie THE DARJEELING LIMITED, that’s something to look forward to.

What was the hardest thing you had to deal with during the filming and editing of this film?

The limitations of finance and thereby the time, we had an extremely ambitious piece with many locations and many actors. We were shooting in Paris and Oslo and we had 45 days to do it! That is not bad these days, but it was tough, it was really packed to the brim, but I think one of the things that was most challenging and that I was most pleased about was using a cast of almost all non- professional actors and I was really nervous about it. There are a lot of people who had never been on a film set before let alone in front of a camera but they did well, I am very proud of them and I learnt a lot from all of them. It was a good experience but also very risky.

What’s your favourite or most challenging scene in the film?

Favourite I wouldn’t be able to say but challenging I’d have to say was when we did the sex scene I wanted to do a love scene that was complicated and was saying something about a relationship. Mostly in movies when people have sex it’s just a fulfilment of love and then they cut away, but I wanted to show a break down of a relationship in that bedroom, a really sad and complicated scene and with two inexperienced actors we worked a lot on that.

What would you like people to feel after they’ve seen the film?

If I was able to say that in words I wouldn’t be making movies I guess! But trying to go along with your question a bit… it’s a tricky one. I definitely want people to be allowed to feel different things, that’s a big thing for me, not to just go out and say well I felt that same kind of happiness or sadness that they felt from other movies. You almost wish when you make a film that people will have a contradictory emotional experience. I’m interested in the ambivalence that people will feel that AAH what a character did was right but was also wrong!

So are you comfortable making films in Norway for the foreseeable future or would you like to venture out to any particular location?

That’s a good question. I want to work in London, New York, a city or urban movie would be interesting to explore so that might happen. I’m looking into the possibility of working with a more international cast.

I read that you were inspired by Woody Allen amongst others, but is there any one particular director who has really moved you?

Several, I’m a film buff. In fact I have just bought INLAND EMPIRE by David Lynch, so I’m looking forward to seeing that. These days, well we just lost Michelangelo Antonioni and Ingmar Bergman on the same day and to me those guys meant so much to European cinema and to World cinema, they were such great visual craftsmen and they’re amazing with actors, they pushed the envelope in as far as what cinema could talk about. They are so many, If I really start you won’t be able to stop me, there are too many film makers I admire.

So has the Norwegian Government been enabling to a young filmmaker like yourself?

I think it has. I think that it’s important to give support that does not have to be given back because take Norway for example, it’s a small language and so for anyone to do movies you need Government support. I think it’s pretty good at the moment, I’m optimistic about it, give it time and I think that stuff will happen.

Who does the narration/ voice over in the film?

Eindride Eidsvold, he’s an older Norwegian actor. He loves partying so he has quite a deep voice and when we did our main session he had just been partying the night before and didn’t feel up to it, so he really struggled but something came out and it was all really interesting. I enjoy toying around with story telling, it’s a scrapbook movie. I said with this one we’re going to try different techniques and make a mishmash, not everyone’s going to love it but I hope that people hang in there.

You weren’t scared that the mishmash might get out of control?

That’s the risk with this film that’s why I’m so proud of getting it sold to like 28 countries. I was really scared and I’ll be scared the next time but rather that than do something safe. I was never in a rock band when I was younger; you know I was a bad drummer so people always kicked me out of their bands. But now I have this group of people I normally work with and it’s a good creative dynamic.

So you picked the songs?

Yes, that was in the script already. There’s a lot of British music in it. I’m a big music fan and there’s a Norwegian band called the White Birch which is sort of ambient music that we listened to whilst we were writing, in fact they did the score and we invented a rock band called Kommune in the film.

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