![]() ![]() That’s all you want is for people to see it. ![]() WILDE: Every filmmaker longs for people to see their film. What has that been like for you as a filmmaker? The idea is not to make you feel safe.ĪP: This is also a film that has had a spotlight on it from the beginning, resulting in both buzz and gossip. I mean, people are upset with me already over this. Audiences aren’t as puritanical as corporations think they are. You know, it’s interesting because in a lot of queer films, the female characters are allowed to have more pleasure. Then when it comes to female pleasure, it’s something that we just don’t see very often unless you’re talking about queer cinema. I do think the lack of eroticism in American film is kind of new. But of course we still live in a really puritanical society. The MPA came down hard on me and the trailer at the last second and I had to cut some shots, which I was upset about because I thought they it took it up another notch. There’s a lot that had to be taken out of the trailer. People were like, what is this movie? You want me to watch “Requiem for a Dream” and “The Truman Show” and “Gentlemen Prefer Blondes,” and you want me to read “The Feminine Mystique,” but also Jordan Peterson?ĪP: “Booksmart” dealt with female sexuality in a very frank way and “Don’t Worry Darling” is already provoking conversations around some of the sex acts shown in the trailer. It was a really funny assortment of material. The architectural influence of (Richard) Neutra is all over the film.(Cinematographer) Matty Libatique and I were really inspired by Alex Prager and her photography and the idea of creating anxiety through framing and this artificial world that would be incredibly alluring until you look very closely.Īnd I always make endless playlists and watch lists and reading lists. This was an opportunity to just really play in that world. WILDE: I am a big fan of the iconography of the 1950s and a lot of the art, architecture, cars, music. It’s like juggling upside down on the wing of an airplane.ĪP: You’ve spoken about some of your stylistic influences, from the photography of Slim Aarons to the erotic thrillers of Adrian Lyne. Like what actress can do stunts and pull off these incredible emotional acrobatics and do it so effortlessly in an accent that’s not even theirs? Like, come on. And she, as an actress, is this rare combination of dramatically skillful, comedically brilliant and an action hero who can run like Tom Cruise. This character is a heroine for the ages. I think what Florence did with this role is singularly brilliant. There’s no part of me that would want it any other way. ![]() Were you glad about that decision to step back and take a supporting role? AP: You had originally intended to play the part of Alice. ![]()
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