Ari Aster 掉的书袋

评语：【模型映射家庭，室内布景】-Movies built on sets are often much more memorable and uncanny, like The Shining and Eyes Wide Shut.- Exactly. So the upstairs floor and downstairs floor were built, and the attic, and the treehouse, which we built two versions of. We found we needed to design everything in advance of shooting because we needed to know the dimensions of each room, and the dressing for each room, what’s on the walls, what’s the furniture, what’s on the beds, what are the drapes, because we needed to replicate all of that small, and that stuff’s harder to replicate than the rooms themselves. So it was quite a task. Miniatures were coming in on the day we had to shoot them. And we pushed all of that to the end.

评语：【关于家庭戏剧与“模型”缩影】-What was the process of creating all those miniatures?- Logistically, it was a nightmare. I don’t recommend this way of working necessarily, but I’m someone who comes with a shot list before production so I know how I want to shoot everything in advance. It puts everyone else in the corner, which is not necessarily very nice. That’s very Terence Davies of you. I love Terence Davies. One of the shots from Strange Thing About the Johnsons is a Davies shot. The push in on the family at the wedding is right out of Distant Voices, Still Lives. Anyway, so we were looking for a house that would accommodate our shot list and we didn’t find one. We found one that was close enough, but we would have had to do a lot of altering of the house to accommodate the shot list, so we found it would be cheaper to build all of the interiors. So everything inside that house was built from scratch on a stage.

评语：【在谈论短片与“禁忌”主题时引出沃特斯】To ask, what can’t I do? And why can’t I do it? Oh, a son raping his dad, we should make that a movie. And then to figure out what makes that palatable and how to make that work. So it was an exercise, really, and it was a stunt, and a punkish one. At first, it was like, okay, I’ll make something campy, what was in my head at first was very John Waters, something like a Lifetime movie about an issue that does not exist—this domestic abuse hysterical freak-out. And then the challenge became how do I draw the tongue from the cheek enough to confuse people about what this is. Is this a comedy or is this a melodrama that is weirdly presenting itself as though it thinks that this is a real issue?

评语：【AFI是一所工业学校，于是我想，在这里能做的最糟糕的事是什么？】One of my shorts, The Strange Thing About the Johnsons [2011], was my Sirkian film. That was a weird mutt of a movie, where it started as one thing then became another and then another. I was at AFI, which is a kind of industry school. They’re very Hollywood-oriented and they want to train you to become a Hollywood filmmaker, and the films they show the incoming fellows are very politically correct, you know, Oscar movies. And I just thought, what’s the worst thing I can make at AFI?

评语：【通过[威尼斯]提到Pino Donaggio，导演好品味...】Part of what makes that film disturbing is the music by Pino Donaggio, who also did the music for De Palma’s Carrie, which fucking horrified me.

评语：【[遗传]是对悲伤和创伤的沉思，我将它看作是[威尼斯]的兄弟】A big touchstone for me was Don’t Look Now. Nic Roeg is interesting because you’d expect a director who started out as a cinematographer to become like Tarkovsky, precious about his images, but he became like Eisenstein. He was all about montage. So aesthetically I find his films so exciting, but I don’t draw from them at all. Don’t Look Now for me serves as a very serious meditation on grief, and it’s also horrifying. But it’s horrifying because you’re so invested in these people and what they go through. So I see Hereditary as something of a spiritual sibling to Don’t Look Now. Part of what makes that film disturbing is the music by Pino Donaggio, who also did the music for De Palma’s Carrie, which fucking horrified me.

评语：【I had the same response to Dreyer’s Ordet】. That really bothers me. I don’t have faith, but that film, I feel it, and it’s upsetting because then I’m dropped back into my life, where I don’t really have a god. So I felt something there.

评语：【联想】The Wailing went all the way in providing a terrible kind of resolution. Your film similarly implies that resolution might be the most horrific thing of all. The ending reminded me of The Last Temptation of Christ, and how just the phrase “It is accomplished” can be terrifying.

评语：【混合类型】The South Koreans are so good at horror in general, and they’re also so good at mixing genres, but in a coherent way. There’s this film called The Wailing. For me that was an experience. It’s a police procedural that’s also a goofy black comedy about a police detective that turns into a serial killer film that then becomes a satanic possession movie that becomes almost Pinter-esque in its brand of existentialism.