G
The partnership between Yorgos Lanthimos, director of the Greek film industry, and American actress Emma Stone is a force to be reckoned with. After their successful collaboration on the critically acclaimed film The Favourite (2018), which received 10 Oscar nominations and seven Bafta awards, they have also worked on a short film titled Bleat and an upcoming feature called Poor Things, which is already generating Oscar buzz. Additionally, they have completed filming for another feature, tentatively titled Kind of Kindness. It is evident that their working dynamic is highly productive.
The movie Poor Things has been described as a bizarre combination of science fiction and romantic comedy. In the film, Emma Stone portrays the character Bella Baxter, a woman who has been reborn in the 19th century. She is under the care of a surgeon named Godwin Baxter, who is similar to Frankenstein. Bella refers to him as “God” and it seems that he has given her the mind of a rapidly developing baby. Critics have struggled to categorize the film’s more unusual elements, with some describing it as visually striking and unapologetically raunchy, while others opt for a more straightforward description of being completely crazy and incredibly vulgar. Stone simply states that the movie is about a woman who is not burdened by shame.
During my meeting with Lanthimos in London, the Oscar campaign for Poor Things is gaining momentum as it garners numerous awards and nominations after winning the Golden Lion at the Venice Film Festival in September. Despite not yet being released in the UK for another two weeks, it is already the most talked-about film of 2024. However, Lanthimos, known for his films Dogtooth (2009), The Lobster (2015) and The Favourite, which have all received Oscar recognition, remains remarkably unaffected by all the buzz. He maintains a relaxed, laid-back demeanor unlike the intensity of his movies.
I remember when I first presented Dogtooth on Channel 4’s Extreme Cinema segment a few years ago, I excitedly discussed its unsettling and chilly satire and commented on Lanthimos’s firm stance of not offering explanations for his often bizarre films. He has previously stated, “People are always trying to make me agree with their interpretation, but I refuse to do so.” However, while sipping coffee in a hotel in the West End, he appears eager to delve into the details of what Poor Things truly encompasses. I wonder if he concurs with Stone’s concise summary of the film.
“Shame is a conditioned emotion that we often experience in certain situations, but Emma’s character is not burdened by it,” he explains. “She never learned what shame is, so she is able to freely express her mind, thoughts, opinions, and body without any inhibitions.” I bring up his previous description of the film as being “about a woman who gets a second chance.” He subtly revises this to say that it is more accurately about “a human being who has the opportunity to make a new start in the world – someone who has not been shaped to see the world in a specific way. Starting with a clean slate allows her to have a more open-minded perspective. At 28 years old, she had been living a dissatisfying life, but now she has the chance to start fresh and take ownership of her life.”
The film Poor Things, directed by Lanthimos and written by Tony McNamara, is based on a popular novel from 1992 written by Alasdair Gray, a Scottish author who received the Whitbread award and Guardian Fiction prize for the book. In the novel, Gray presents various conflicting versions of Bella Baxter’s life in a lively Victorian style. One account suggests that Dr Godwin Baxter swapped the brain of a drowned woman with her unborn baby’s, resulting in a childlike adult with no moral compass who embarks on a wild journey of self-discovery. However, others dismiss this as a fantastical story, accusing it of being overly macabre and borrowing heavily from works by Hogg, Shelley, and Poe.
In 2011, Lanthimos asked Gray to adapt the novel, despite Gray not having seen any of his films at the time. Gray’s son had to teach him how to use a DVD player so he could watch Dogtooth, which he greatly enjoyed. Lanthimos was surprised that Poor Things had not yet been adapted for film.
He expresses his excitement, saying, “It was amazing because it’s so film-like.” The concept is complex, but it’s evident that there is a story to be told. When I discovered that it hadn’t been adapted yet, I traveled to Scotland to meet the author. Upon my arrival, he was already at the door, putting on his jacket. He simply said, “Come with me!” and swiftly showed me around Glasgow. This was his world, as the novel is set in Glasgow. We then returned to his house where he complimented my talent and offered me the opportunity to adapt his book into a film. After that, I boarded the train back to London and we never discussed it further.
Was he true to the source?
The main idea is reflected in the novel. The novel has a unique structure and narrative. The protagonist’s story is primarily conveyed through the perspectives of multiple male characters, incorporating literary devices that occasionally reject or contradict what is being said. However, for the film adaptation, the focus is solely on her journey and her viewpoint. To achieve this, we decided to create a world that is seen through her eyes. This involved constructing a studio and utilizing traditional techniques to make everything from scratch, including hand-painting backdrops and designing sets, in order to create a tangible sense of this world.
Lanthimos made an important decision to eliminate the “philosophical political essay” from the novel that discusses Scotland’s connection to England and the rest of the world. He believed it would not be feasible to include this in the film, both logistically and considering his own nationality as a Greek making a film about Scotland. It would have been insincere for him to do so.
Gray, an advocate of socialism and Scottish nationalism, placed great importance on politics. His most well-known novel is often referred to as a “political allegory.” Lanthimos has addressed complex issues of personal freedom and societal restrictions in his films, such as the performative mourning rituals in “Alps” (2011) and the absurd defining characteristics in “The Lobster.” However, in the past, he firmly stated that he would have become a writer if he wanted to discuss politics or social problems. As a filmmaker, he believed that was the extent of his capabilities. I wonder if his stance has changed and if he now considers his films to have political or polemical elements.
“Although not intentionally controversial, I believe there is an element of politics present without overtly stating a particular ideology. Creating films that address the topics you mentioned is a political statement – a commentary that prompts us to question issues. Most films that delve into deep inquiries have some form of political undertones.”
I am curious about what shaped Lanthimos’s inquisitive perspective.
“I am still in the process of forming my career day by day,” he chuckles. “Growing up in Greece, I never even dreamed that I would have the opportunity to create films.” Lanthimos, whose parents were a shop owner and professional basketball player, initially pursued studies in business and marketing before realizing his passion for directing. He then switched to the Hellenic Cinema and Television School Stavrakos in Athens, where he began by making commercials, music videos, and dance films. However, he never believed he would have the chance to direct a feature film. “A decade ago, Greece did not have much of a film industry or tradition,” he explains. “There were only a few independent filmmakers working, and it was difficult to secure financing. But at some point, I thought, ‘Why don’t we just make a film ourselves? We don’t need much – just a camera, some film, a lab, and some actors. We can go anywhere and shoot something. What’s the harm?’ I never imagined that people would actually watch our work! I thought it would just be something we showed to our friends and family, and they would be happy that we had made it. But as time went on, more and more people began to appreciate it, and the idea of making films for a living became a reality. However, this was not possible in Greece – which is why I eventually moved to London after making three films there. But the approach and mentality remained the same.”
Lanthimos and his wife, Greek-French actress Ariane Labed (who stars in both Alps and The Lobster), came back to Athens in 2021. However, the director still appears to be comfortable and at home in London. As we order more coffee, I pause to make sure my phone is recording our conversation. I apologize for my constant fear of technology failing, but Lanthimos is actually quite pleased. “We share the same sentiment!” he exclaims. “That’s why I prefer to film everything on actual film! I have used digital technology for a couple of films, and I absolutely despised the experience.”
I inquired about Lanthimos’ specific reasons for disliking shooting on digital, and it appears that he dislikes everything about it!
“I am not a fan of the filming process,” he expresses with a sigh. “Being on set and observing the scenes on the monitor, it can be distracting. It’s difficult to fully comprehend what is being captured and then having to deal with that unsatisfactory image during the post-production and editing stages. When it comes to finishing the film, it becomes a struggle to make it look presentable – trying to add texture and fix the skin tones. It takes away from the creative experience. Additionally, I feel there is a certain level of preciousness when using film for a take, rather than just pressing a button. I am becoming more dedicated to film-making. In fact, I recently built a darkroom in Athens for developing and printing my film. During the filming of ‘Poor Things’, I would also take pictures on set using film. After a long day of shooting, Emma and I would unwind by developing the negatives together. It became a relaxing ritual for us.”
I inquire about Lanthimos’ partnership with Emma Stone and the progress of their current project, initially named AND but later changed to Kind of Kindness.
The speaker confirms that the filming is complete and they have begun the editing process. The film is set in present-day US and features three separate stories with four or five actors playing multiple roles. It was like creating three films in one. The speaker expresses gratitude for the opportunity to work with Emma again, as it makes the process smoother when there is mutual trust between them.
Lanthimos describes his casting approach as “instinctive” and remembers their first encounter with Stone where he immediately felt they could collaborate. He recognized her unique talent and was impressed by her previous work, leading him to believe she would be perfect for The Favourite. Stone had also seen Lanthimos’ films and was eager to work with him. She is dedicated and willing to do whatever it takes to achieve their goals. In addition to her exceptional acting skills, their ability to understand each other without needing lengthy explanations or discussions is invaluable.
It is essential for Poor Things to have this type of imaginative closeness, particularly because Bella’s prominent role poses a set of vulnerable challenges for the performer.
“Without a doubt. However, by the time we created Poor Things, we had already completed The Favourite and had developed a friendship. We also collaborated on a silent short film, Bleat, for the Greek National Opera while in Greece. It was a unique and memorable experience as Emma joined us on an island, mirroring our approach to filmmaking in our earlier works in Greece.”
Emma Stone, a three-time nominee for the prestigious Oscar award and winner of Best Actress for her performance in La La Land, was reportedly the highest-paid actress in the world in 2017. However, according to director Yorgos Lanthimos, Stone is more interested in taking on smaller passion projects rather than big-budget Hollywood blockbusters. Lanthimos recalls working on their film Bleat with a small crew of only 10 people on an isolated island during winter. Stone expressed her desire to work on all films in this intimate manner, without the distraction of a large production team. Lanthimos shares his own long-held belief that films don’t need a large crew and reveals that on their previous project, Poor Things, they were able to create this intimate atmosphere by minimizing the presence of unnecessary personnel. He also mentions how he and cinematographer Robbie Ryan were able to achieve this by hanging lights from the ceiling and keeping the rest of the team outside the room during filming.
We begin discussing Jerskin Fendrix, the British musician who received a Golden Globe nomination for his diverse and energetic score in Poor Things. Director Lanthimos was drawn to Fendrix’s 2020 album Winterreise, feeling a kinship with his creative style. He was impressed by the range of sounds and emotions in Fendrix’s work, from humor to melodrama. Lanthimos found the sound unique and beautiful, and believed it would fit perfectly in the world of Poor Things. When he played the album for actress Emma, she remarked that it was as if all the thoughts in his mind had transformed into music.
Fendrix’s music effectively connects the audience of Poor Things with the film’s emotionally unconventional core. I observe that while Lanthimos’s films often have abstract ideas (such as the hierarchy of lives in The Killing of a Sacred Deer), they are successful because they evoke a raw reaction on some level; they make you uncomfortable, or cry, or flinch, or (most commonly) laugh. Lanthimos agrees, stating “Yes, yes!” He believes that being moved to laughter or tears is an involuntary response, and he values that more than the intellectual aspects of his work. He explains, “You can analyze and say, ‘This is a great film because of this and this’, but if you don’t experience it in the moment, if you don’t feel something, even if you can’t explain it, then what’s the purpose?”
What causes Lanthimos to laugh?
“Mark Ruffalo is rehearsing!” he responds promptly (the actor is a strong contender for an Oscar for his comical depiction of Bella’s arrogant and foolish love interest, Duncan Wedderburn), before providing a thoughtful answer: “I believe it is the awkwardness of human interaction and behavior that makes me laugh.” I ponder if Lanthimos also perceives a philosophical connection between the fabricated, artificial universes of Poor Things and Dogtooth, where a domineering father confines his children within their home, cut off from the outside world by fabricated stories of miniature airplanes and deadly cats.
The idea of Bella’s imprisonment and her lack of understanding of the world is a common theme in Dogtooth, the director acknowledges. However, Poor Things delves into what happens after she is released. Initially, the director did not consider this connection while reading the novel, but it became more apparent during filming. Dogtooth delves into the constraints and influence of family and societal structures on human perception. Poor Things builds on this concept and explores the consequences when one enters the real world.
Does Lanthimos have a preferred film among his own works?
He laments, “They are all troublesome kids, each with their own issues.”
Does he ever watch them again?
“I watched those films around a year ago, and during the pandemic, I decided to revisit them and see what I thought. I viewed The Favourite, Dogtooth, and Sacred Deer and was pleasantly surprised.”
Surprised how?
“I was expecting them to be worse!” he chuckles. “But when I actually saw them, I realized it wasn’t as bad as I thought. It actually works well. Of course, you can never create a perfect film, but it’s well-crafted and there are intriguing ideas present. That’s what I set out to accomplish.”
-
2018
The film Poor Things will be released in UK theaters on January 12th, 2018.
Source: theguardian.com
