What inspired you to begin work on this film?
I read a lovely, futuristic short story about loss (“Saying Goodbye to Yang,” by Alexander Weinstein). I was taken by the domesticity of it, as well as the inherent questions of attachment and the politics of being. I was also interested in exploring a form of loss that emerges retroactively.
Please describe your working method and the atmosphere on set.
I just want to be attuned to the day and to the people who will help give that day life and meaning (actors/artists/technicians/etc). If there is a working method, it is to find the best ingredients that each day has to offer in an atmosphere conducive for such work.
Please share a few words about your actors.
This is hard to do in just a few words. The entire cast, from the day players to the leads, were remarkable and giving. But it really starts with Colin. He set such a generous and humane tone for everyone, including the crew. And the quiet and subtle way that he embodied his character was captivating. I’ve said this before, but he’s a poet disguised as an actor. Jodie was a gift to this project in so many ways. She made everything better. Justin was meant to play the titular role, and Malea was a true discovery. It was also special for me to have Haley Lu, who starred in Columbus, in this film. I could go on and on and include others (Clifton, Sarita, Ritchie, etc).
What did you learn during the course of making this film?
A lot, always, but it’s difficult to articulate. This medium is elusive. We try to rein it in with our schedules and plans and technology, but it resists being tamed. I love this about cinema. The flux of it. The possibilities and impossibilities of capturing time. I will no doubt always be learning.
What inspired you to become a filmmaker?
It is the pursuit of this elusive medium that inspires me. I’ve been changed by cinema, and to be able to be a part of this on-going conversation is humbling.
What are your views on the state of the film industry in your country?
Hopeful and concerned.
