Jump to content

Leyla

Carol (Todd Haynes+Blanchett, Mara, Paulson) | Limited Release 11.20.2015

By Leyla, in Box Office Discussion

Recommended Posts

Leyla Blockbuster

Leyla

Posted
Posted

Set in 1950s New York, a department-store clerk who dreams of a better life falls for an older, married woman.

 

IMDB

 

Director: Todd Haynes

Writers: Patricia Highsmith (based on the novel by), Phyllis Nagy (screenplay)
 
Cast:

 

Link to comment
Share on other sites




Leyla Blockbuster

Leyla

Posted
  • Author
Posted

 

 

Thanks to Valentina Alfonsi for the information. 

'Carol' has been tipped or wished by many to premiere at the Venice Film Festival this year, but Venezia chief Alberto Barbera has said that 'Carol' wouldn't be ready until Spring 2015.

 

http://missbelivet.tumblr.com/post/92727344389/news-carol-will-not-be-ready-until-spring-2015

Link to comment
Share on other sites




Leyla Blockbuster

Leyla

Posted
  • Author
Posted

Anis from the preview  :wub: Hoepfully the vid will leak soon

http://missbelivet.tumblr.com/post/101256729669/first-look-cate-blanchett-rooney-mara-in-carol

 

 

 

 

 

Haynes’s next film, produced by Vachon, is Carol, a lesbian romance starring Cate Blanchett and Rooney Mara, based on a Patricia Highsmith novel, will be released next fall.

http://daily.swarthmore.edu/2014/10/23/25981/

Link to comment
Share on other sites


Leyla Blockbuster

Leyla

Posted
  • Author
Posted (edited)

new  interview with Haynes
 

I imagine that working with those extras is different from the experience of Safe, where Carol is isolated for a considerable portion of the film. How was the experience of working with an actor one-on-one for so much of the production? 

Well, it’s great. It’s impossible to overstate the experience of working with Julianne on Safe, and the projects that followed. I don’t think I ever wrote or conceived of a more challenging character on the page for an actor to embody than Carol White, who’s just so absent from herself when you first encounter her. There’s so many barriers set up for the viewer’s access to her that we usually come to expect from movies, not the least of which is the fact she’s not a very fleshed-out or interesting person. Initially, Julianne had total respect for that predicament: the fragility of the interior world of Carol White. Julianne not only respected the character and the person, but also the filmmaking, which really distinguishes her from a lot of actors.
Julianne really thinks about what the stylistic language of the film is and what the frame is, and she really wants to work with directors who have a strong sense of how that process can be articulated in different ways to serve different kinds of stories. She understands that, so she doesn’t try to fill in as some actors, understandably, feel compelled to do, to feel they’re helping the viewer out. Ultimately, Julianne recognizes viewers have incredible intuition, and power of reading information on the screen, and reading narrative form and style.
An audience’s hunger for stories to unfold a certain way are actually opportunities actors and directors have at their disposal to illicit but also betray, play with, or toy with — and we were certainly doing some of that with Safe. She really trusted me and the writing, but, ultimately, it’s the trust in herself that gives her the ability to underplay and let an audience find you in the frame, and not always be waving desperately for their attention. She’s really extraordinary that way. When I saw it again recently she… I’m proud of the film, but it rests entirely on that performance. It’s an inconceivable piece of work without someone as powerful as Julianne at the core.

Is it rare for an actor to ask about framing to inform their performance?
I have to say, the really extraordinary actors I’ve worked with really do care about the frame. Sometimes it’s even just simply… when I was working with Cate Blanchett on I’m Not There, she was playing a man in this role of Jude. She would look at playback. She didn’t look out of a sense of vanity; she just wanted to see how her hips were being filmed and how to place her body in the frame to minimize the broadest curves of her female hips. Sometimes it’s very technical reasons why actors want to see what the frame is. It’s all relevant. It all plays into what is the language and the style, and how is that style informing the interpretation of the storytelling and character. I find some of these extraordinary people I’ve been lucky to work with ask questions about the frame, and it’s always for reasons of how they’re going to interpret their performance accordingly.
 

The framing of Carol, especially when she’s alone in her oppressive home, is haunting. Home usually plays a major part in your films: In Velvet Goldmine Christian Bale’s character has to hide who he is in his home; there’s an isolation to the home in Far from Heaven. The ideas or themes that tie together your work, are they an intentional exploration on your part or is it all subconscious?
It’s a good question. It plays in very different ways in very different films. The two examples you mention are almost on the opposite poles from each other. In Safe, Carol’s introduced almost as one of the objects of her house, almost competing for a sense of importance or presence with the objects in her house. She ultimately comes to realize there’s tremendous danger within the walls of what would otherwise be described as the American dream home: full of all the material comforts we covet as a culture.
It’s very much like the Sirkian homes, from Douglas Sirk‘s films, which are these magazine images of idyllic dream interiors. The clothes, costumes and stylings of those films only contribute to that sense of an almost unbearably perfect domestic life, that none of the subjects in these films can quite live up to. Their limitations as subjects or characters is what’s so poignant about those films — that they’re not nearly as gorgeous, heroic and victorious as they look. There’s a sense of loneliness and despair living amongst perfection.

In Velvet Goldmine, it’s a very different moment. It really is the secretive moment: he has to lock and wedge the door shut before he explores something that is wholly available at the record store down the street. He unlocks a channel of discovery, erotic surprise, and danger that, you know, one would think has no place in that suburban house. As it turns out, it precipitates into him having to leave his house, which threatens his domestic relations. You know, I love how that sense of danger and the unknown exists next to the absolutely domesticated and familiar objects we’re surrounded by.
With Carol White, I didn’t want to create a perfect life her illness begins to undermine, because I actually wanted something to be wrong about this life. If anything, the illness leads her to an opportunity to see there’s a discrepancy between this life and something else. The illness alerts her to a hint of danger that is signified by the world around her, in a way that’s the beginning of some crucial discovery about her own despair, grief, and own distance from that life and herself she otherwise never would’ve had the opportunity to encounter.
 

That’s great. Before I let you go, I have to say we’re very excited for Carol at the site. How is it coming along?
I’m so happy. It came out beautifully. We literally just finished completing all the deliverable requirements for it. It’s weird, because it’s so late in this year, but there was no way to make any festival’s deadline for it. We all thought it would benefit from a festival launch, so we decided to wait. It’s not going to come out until next year, and it’s going to be torturous to wait that long.
You know, it’s set in the ’50s, and it’s a very different kind of ’50s film than Far from Heaven was. The feel of it is much less inspired by ’50s cinema, and more by, I guess, photojournalism and a lot of the art photography we were seeing at the time, which has much more gritty… it’s a very poised film, because it has a real sense of control to it. The look of it is much more distressed.
It’s set in the early ’50s, before the Eisenhower era had really taken hold. It was a really transformational and unstable time from the war years into the beginning to what would become the ’50s as we know them. The historical imagery and references we uncovered showed New York was really like an old-world city in great duress: very dirty, very dingy, and very neglected.
I thought it was such an interesting place to mount this, ultimately, very pure and simple love story between a younger woman and older woman at the most unexpected cultural moment and place. For me, the look of it is very unique. The performances from everybody are just lovely. I’m dying for it to come out, but it looks like we’ll have to wait a little longer.

 
http://thefilmstage.com/features/todd-haynes-discusses-safe-letting-go-of-the-past-working-with-julianne-moore-and-carol/

Edited by Lady of Lorien
  • Like 1
Link to comment
Share on other sites


















Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

×
Go to topic listing

  • Recently Browsing   0 members

    • No registered users viewing this page.


×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use and Guidelines. Feel free to read our Privacy Policy as well.

  I accept