‘Touch’ Director Baltasar Kormákur on Working With Novelists, the Influence of His ‘Traumatic’ Divorce, Casting His Son: ‘I Don’t Want to Hurt My Child’

As a devoted cinephile who has witnessed Baltasar Kormákur’s impressive body of work, I was captivated by his latest endeavor, “Touch.” During the Taormina Film Festival, Kormákur spoke to me about this heartfelt adaptation of Ólafur Jóhann Ólafsson’s novel. Having seen the film’s release in the U.S. by Focus Features and receiving rave reviews with a 93% Fresh score on Rotten Tomatoes, my anticipation was high.

During the Taormina Film Festival, Icelandic filmmaker Baltasar Kormákur had an interview with EbMaster about his romantic drama “Touch.” Based on Ólafur Jóhann Ólafsson’s novel, this movie was recently released in the US by Focus Features. It has received impressive critical acclaim and boasts a 93% positive rating on Rotten Tomatoes.

In the past, Kormákur directed films like “Beast,” where Idris Elba confronted a lion, and “Everest” featuring Jason Clarke and Jake Gyllenhaal battling a mountain. Yet, the story of an elderly man named Kristófer dealing with early-onset dementia and reconnecting with a past love proved to be an equally challenging endeavor for him.

I received a captivating novel from my daughter as a Christmas gift last year. Although she didn’t provide much context, her thoughtful present piqued my curiosity. As I delved into its pages, I was introduced to an old man reflecting on his past life. At first, the story seemed relaxed and leisurely, but soon enough, it began to exert a mysterious hold over me. It was an unusual page-turner that kept me engaged in the most tranquil way possible, leaving me eager to discover what would unfold next. The book’s profound exploration of life experiences resonated deeply with my own, making for a truly memorable reading experience.

“The experience of going through a divorce recently influenced him as he adapted the book. This life event caused him to deeply reflect on his past and led him to reach out to the author just two days after reading the book, proposing a collaboration.”

In simpler terms, the novelist, Ólafur, was a supportive collaborator throughout the filmmaking process. Despite past difficulties with other authors, the speaker emphasizes that this isn’t about right or wrong, but rather finding common ground. A director’s creative vision must dominate in a film, not the author’s. However, Ólafur demonstrated remarkable generosity and flexibility, accepting most of the changes made by the speaker. He recognized his role and was eager to assist in visualizing the speaker’s desired alterations. Consequently, the majority of modifications originated from the speaker, but Ólafur actively participated in the collaboration.

The film seems quite understanding to me. It’s really about seeking resolution and finding inner peace after experiencing a traumatic event, such as a divorce, which can feel like grieving a loss. I believe expressing this healing process publicly might be beneficial for me.

As a movie buff, I’d say: I was thrilled when I heard that director Kormákur decided to take a risk by casting his own son, Pálmi Kormákur, as the young Kristófer in our film. This idea came to light during auditions when a casting director brought him up as a suggestion. Impressed by his acting skills, we arranged for an audition tape which was then sent to key decision-makers like producer Mike Goodridge and Focus for their approval.

As a filmmaker with years of experience under my belt, I can relate to the challenging journey of casting the perfect actor for a role. I remember sending out a few auditions for a recent project and was impressed by one particular contender. After much consideration, it became clear that he was the right choice. The entire team came to the same conclusion, and it seemed like fate had made the decision for us.

In the role of older Kristófer, we have Egill Olaffson, an accomplished actor and musician with years of experience. Unfortunately, he comes with some challenges as he deals with Parkinson’s disease. To accommodate him, I chose to add a week to our shooting schedule, allowing us to work at a slower pace. I believe this decision enhanced the authenticity of his portrayal, as every movement is laborious for him. The character is near the end of his journey, and the struggle to reach his destination is not an easy one.

One issue arose when Pálmi was left-handed while Egill was right-handed. Since the intricate tasks were handled by young Kristófer, it fell upon Egill to adapt and perform these duties using his left hand. In a Japanese restaurant setting, Egill had to master speaking three languages, deal with the challenges of Parkinson’s, eat using chopsticks, and do it all with his non-dominant hand. This combination of obstacles was particularly challenging for Egill. Creating such a demanding scenario for an actor may have been one of the most difficult tasks I have ever asked of them.

2024-07-20 15:46

‘Touch’ Director Baltasar Kormákur on Working With Novelists, the Influence of His ‘Traumatic’ Divorce, Casting His Son: ‘I Don’t Want to Hurt My Child’

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