As a cinephile with over three decades of film-watching under my belt, I must say that watching Guy Maddin’s work is like diving into a rich, uncharted ocean of cinematic brilliance. His films are not just movies; they are sensory experiences that blur the lines between theater and cinema, reality and fantasy, and past and present.
Cate Blanchett, known globally for her exceptional acting skills and blockbuster roles, doesn’t back away from unconventional and avant-garde projects. Her latest role in the film “Rumours,” directed by legendary Canadian filmmaker Guy Maddin and his frequent collaborators Galen and Evan Johnson, marks one of her most unusual and amusing productions yet. This movie, a stylized and self-aware satire, takes place during a G7 summit hosted by the German prime minister (portrayed by Blanchett); chaos ensues when these leaders of advanced economies become lost in a primitive forest, encountering onanist bog-men, Scandinavian witches, a giant glowing brain, and their own personal regrets. Despite its wild humor, the film develops into something more profound: a poignant portrayal of political leaders’ struggle to address global existential crises. Although “Rumours” is one of Maddin’s more mainstream works, it remains unique in contemporary cinema. Having long admired the director, Blanchett was eager to collaborate with him and the Johnsons. She refers to them as akin to an amoeba and expresses her readiness to work with them again immediately.
How on earth did I come to collaborate with Guy Maddin on making a movie? Well, I’ve always been a big admirer of his work. One day, I was discussing various topics with Ari Aster, and he mentioned that Guy, Evan, and Galen had a script they thought I might like. Since I’d seen “The Green Fog” and believe every film student should watch it, I agreed to read the script. To my delight, I found it fascinating. Their unconventional approach to subjects resonated with me – they often veer off in the opposite direction when you expect them to tackle something serious, which I found refreshing. I thought their unique perspective on global anxiety and the failure of leadership was an intriguing way to address such pressing issues.
Many unconventional comedies have a tendency to gather comedic momentum only to eventually lose steam. While the ideas might be hilarious, they often struggle to sustain the energy or escalate beyond their initial levels. In the case of “Rumours”, I found it never let up – it became funnier and more existentially unsettling as it progressed. This film blends elements of a monster movie, a Mexican soap opera, and Douglas Sirk’s style. We often drew parallels to Luis Buñuel’s “Exterminating Angel”, making it part fever dream as well. The unique challenge in describing this movie is what makes it extraordinary. People are eager to categorize things, but this film defies easy classification. Guy, with his extensive and diverse career, has always remained intrigued by the process of filmmaking. As a result, this film stands out as something utterly distinct. When you ask them about its meaning, it’s almost as if such questions are taboo to them. The internal logic of their films is present, yet they also defy logic, making them both absurd and profound at the same time.
The masturbating bog men, for example.
It’s a good name for a punk band. The Masturbating Bog Men.
The metaphor can be interpreted in multiple ways. On one side, it represents tangible, instant, and raw powers that seem to expose the superficiality of the actions taken by the G7 leaders…
At the same time, they seem to be merely idling or going through the motions, while the politicians deliver their speeches.
I find it fascinating how versatile this symbol can be, moving in multiple directions. It provides a rich canvas for the movie, offering numerous creative avenues to explore.
Could we say instead: “It seems unlikely that the movie makers would delve deeply into such a topic, given their tendency to avoid it once it becomes an overarching theme?
You possess an unusual speech pattern, if you will, and it’s somewhat comical.
How would you describe the distinction between an accent used in comedic roles versus those in dramatic ones? I’m curious to hear your thoughts on this subject. It seems that these nuances have developed over time, with the exception of Charles Dance who played characters other than his native nationality.
In the movie, he’s portraying the U.S. president, yet his British accent adds an unexpected humor since it doesn’t match the character. This is because one of the filmmakers knew someone from their childhood who spent time in England and returned with a British accent. These personal references are meaningful to them but don’t require explanation or justification for viewers, so they decided not to include it in the movie.
In your situation, you’ve got plenty of room for creativity in these movies since they establish a logical foundation only to disregard it. Finding the perfect balance between anchoring and shattering that reality is crucial. Hopefully, you can do this effectively.
Are you asking if there’s a lot of spontaneity or winging it during the filmmaking process? Despite the impression of free-flowing creativity, it appears that the team is quite methodical. I was taken aback when Evan, Galen, and Guy suggested a table read. Although we had a couple of days to iron out details due to the tight schedule and night shoots, which I hadn’t fully anticipated, I had expected us to be shooting in Guy’s garage in Winnipeg. Despite the casual feel of their films, they are quite detail-oriented when it comes to scriptwriting. They were clear about what they wanted communicated and visualized on screen.
In this production, unlike typical scenarios where characters require backstories, it seems less necessary for a peculiar comedy like ours. This is similar to how one wouldn’t create a backstory for a film like “The Exterminating Angel,” where the characters quickly lose themselves in their primal selves or their roles as world leaders. You can observe this awkwardness in footage from G7 summits, where these individuals appear so detached from reality that they seem to be partaking in an unintentional parody. They go through various cultural moments, and when they speak, you can see they’ve been trained in non-confrontational gestural language. There’s a sense of puppetry to it all. In our film, the characters are made to regress into their human forms, becoming fearful. Interestingly, the filmmakers intentionally played with cultural stereotypes, but even then, they were completely disconnected. Much of this had to be discovered during the actors’ improvisations on set.
Were you able to locate them? To be honest, it’s uncertain if I was the one who found them. They can be quite hard to pin down. However, the experience was fantastic! It felt like an extended slumber party for six weeks, if I may say so. We all stayed in a small, makeshift tent without any trailers or other facilities. The silence was golden as we sat together. Then someone would ask, “Does anyone fancy a nut bar? Can I brew some coffee?” and Rolando would bring out snacks and refreshments.
In a sense, working with multiple directors is reminiscent of the old studio system where artists often collaborated with the same producer. This setup provides support, stimulation, and boundaries, which can foster creativity despite limiting resources – as shown in Guy’s work. Initially, I was unaware that there were three directors involved; I thought it was solely Guy’s project. However, I am incredibly appreciative of their collective efforts, as the final product truly embodies the creative minds of all three individuals. When people refer to this as a Guy Maddin film, they should remember that it’s very much a collaborative piece by the trio.
At first, I wondered, “How will this even unfold? Who should I approach?” However, it turned out that I’d pose broad, conceptual questions to Guy, who often replied, “What? Let me think…” before eventually providing an insightful response on the topic, which could be practically applied. Now, we weren’t crafting an epic like the Mahabharata here, you understand? Evan was incredibly practical and straightforward, while Galen functioned as a sort of behind-the-scenes technical mastermind. The way they collaborated was seamless and impressive. Directors often face a lot of pressure, and it’s not always easy to be present and forward-thinking at the same time. I’m intrigued to see what these three do together in the future. I’d gladly work with them again immediately.
They’re like a collective brain, it seems.
They’re an amoeba.
People accustomed to international diplomacy might appreciate some nuances in the comedy, considering the jokes revolving around documents, protocol, and such. However, one might wonder if certain humor could be lost on those unaware of, for instance, what the G7 represents. But this film seems more universally accessible than Guy’s previous works. The humor, while rooted in archetypes and addressing a universal human issue – the paradox of talking about issues instead of acting upon them – has an enduring quality to it.
The collective power of their collaborative efforts, the trio, is not just about a film being successful in its initial release. I didn’t discover Guy’s films when they were first produced, but rather stumbled upon them later. I watched “My Winnipeg” several years after it was released, and then traced back through his body of work. It was then that I realized the profound impact he had on filmmakers’ approaches to narrative and cinematic texture. What I appreciated most about collaborating with him was the interplay between theatrical and cinematic experiences, which Guy frequently explored. Therefore, I believe people will eventually discover it, whether it’s this year, five years from now, or even 15 years down the line.
Have you already watched Guy Maddin’s movies before “Winnipeg”? I can’t quite recall, but I believe I saw his collaboration with Isabella Rossellini, titled “The Saddest Music in the World.” It was stunning. I knew the song “The Final Derriere,” performed by Sparks for them. Maddin’s tastes are incredibly diverse – in films and music. He has a unique blend of confidence, certainty, and deep-seated uncertainty. His work is marked by a feverish intensity, yet he exudes an open-heartedness and genuine care. So, it’s possible that “Winnipeg” was not your first Maddin film.
Have you ever felt that there was a movie in your career that didn’t get the recognition it deserved? Honestly, I often forget my past projects soon after they’re done. Sometimes, despite enjoying the production process immensely, the final product doesn’t resonate with audiences. There are definitely a few movies I’d love to erase from my filmography. Nowadays, the sheer volume of content being produced makes it challenging to find quality work amidst all the noise. It seems like we’re in a constant cycle of consuming media, with little time for experiences to make an impact before we move on to something new. This feels akin to the concept of ‘La Grande Bouffe,’ where one consumes indiscriminately without truly savoring anything. My gut feeling is to produce less, take a step back, and return to the stage.
There are certain performances I’ve given on stage that I wish more people could have witnessed. They were fleeting moments, like our production of “A Streetcar Named Desire” with Liv Ullmann, or “Gross und Klein,” directed by Benedict Andrews. Another noteworthy one was “The Secret River,” which eventually made it to the National Theatre, and of course, “Uncle Vanya.” I often reflect on these shows more because they were so transient, yet that’s what makes theater special – you must be there in the moment, and the memory lingers on.
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2024-10-18 17:54