Empire ha avuto l’opportunità di intervistare Fiona Shaw, una delle attrici coinvolte nel nuovo film di Terrence Malick, The tree of life, che debutterà a Cannes tra un paio di settimane ed a fine mese in tutto il mondo.
L’intervista vale certamente la lettura integrale. Qui riportiamo solo alcuni passi:
He said, “I’d like you to write your own part.” I said, “What?!?” and then I wrote this stuff based on the character he described. When we came to filming, he said, “Where would you like to film these scenes? Would you like to do them indoors or outdoors?” because he is so fundamental in his understanding of what he’s doing that it doesn’t really matter to him whether you film it in a garden or a kitchen. He has the thing in his head, it’s not tied to a tiny schedule. He makes them with handheld cameras, in natural light in the town he’s taken over.
We all lived in the houses of the town that we were performing in. Brad Pitt and Angelina Jolie were in the house next door with their children. During the day we’d vacate our houses and they’d became exteriors in the film. It was the most holistic experience…
Well, I think he shoots about 35 films and makes the one that he wants, but he kind of knows all along. What he’s looking for is the accident: he wants the accidents to happen. I suspect he throws out a lot of magnificent work. I wonder how he cuts down major characters. I originally spoke more than any other character and I have no doubt I’m in it for two seconds but I hope it’ll be the best of the two seconds that served him.
He’s like a Renaissance painter.
Fiona Shaw smentisca ancora una volta l’immagine di burbero recluso che circonda Malick da quando, alla fine degli anni ’70 ha deciso di non apparire più in pubblico e di abbandonare il cinema per un ventennio.
…He’s an amazing man. He’s got that this heat that comes of him and when you’re with him you just want to lurk all day. Few people have that.
…Terry just laughs and laughs and laughs and then goes to bed. He’s the most contented sort of person you could meet. He’s certainly not an ego in any kind but he is somehow a channeller of something very great
Stanze di Cinema 