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Film: Back to Black
Director: Sam Taylor-Johnson
Cast: Marisa Abela, Jack O'Connell, Eddie Marsan, Juliet Cowan, Lesley Manville, Sam Buchanan, Pete Lee-Wilson, Thelma Ruby, Renee Matilda Thorpe, Ryan O'Doherty
Evoking classic R&B, the late Amy Winehouse emerged as a celebrated new stars by making old music sound fresh. She possessed a deeply soulful voice which she used to sing songs of love, heartbreak, and struggles with substance abuse, as in her Top-10 hit "Rehab." Winehouse sold 16 million copies of the LP Back to Black" and won big at the 2008 Grammy Awards, taking home Song of the Year, Record of the Year, and Best New Artist. All that success was overshadowed by the Brit’s personal troubles, which, according to MTV News, included an arrest for drug possession — there was a viral video of the singer smoking what was reportedly crack cocaine — and an emphysema diagnosis.
Winehouse's demons tragically got the best of her. According to The Guardian, authorities were summoned to the singer's north London home in July 2011, where they found her dead at the scene. Winehouse was reportedly a heroin user, but a post mortem inquest pinpointed a different cause of death. According to “The Independent”, a London coroner found no drugs in her system, ruling that the singer died of alcohol poisoning following a period of three weeks of sobriety. Winehouse is believed to have consumed 416 milligrams of alcohol per deciliter of blood, well over a fatal level of 350 milligrams. She was 27 years old.
This complicated history has been fodder for articles, books, a notable documentary and now a feature film, "Back to Black". The movie’s title is taken from the hot album of the same name. Directed by 57-year-old Sam Taylor-Johnson, herfeature film debut was 2009's "Nowhere Boy," based on the Beatles' singer/songwriter John Lennon's childhood experiences.
Taylor-Johnson’s star for "Back to Black,” Marisa Abela, made her TV debut in 2020 with leads in the Sky One political thriller, "COBRA" and the BBC Two/ HBO office drama, "Industry." Abela appeared in the 2022 films, "She Is Love" and "Rogue Agent." In July 2022, she joined the cast of Greta Gerwig's "Barbie" (2023). Then the actress starred as Winehouse in this biopic.
This Q&A comes from an appearance made by the duo at the Museum of The Moving Image shortly before the film's May 17th release.
Q: This is a remarkable story and one that, in some ways, is privy to when she was alive. For each of you, what moved the dial from this is a remarkable story to this is a remarkable story that I need to tell?
Sam Taylor-Johnson: When Alison Owen, our producer, called me and said, "I'm looking to make the story of Amy Winehouse, which would be interesting," I felt like I couldn't say "Yes" quick enough. After I said so, I suddenly processed the enormity of what I was taking on. It felt like it had to be made from [Amy's] perspective because, by living in London around the time when she was alive, I watched how her life was dissected and pulled apart in the tabloids and similarly post-death. I felt like going directly into her perspective. It was almost like allowing her to tell her own story through her words and her lyrics. It felt like a timely thing to do.
Marisa Abela: Basically, I got a call from my agent who said they're doing it. I was about 13 when "Back to Black" came out, so I was aware of her music. I was singing the songs, but when you're singing “Love Is A Losing Game” and you're 13 years old, it doesn't mean that you really understood it fully. That was my understanding of Amy [at the time]. Then, because of all of the tabloids and the images and stuff, I knew of her in that way. So, I said, "Let me think about it." I was then in front of Sam Taylor-Johnson and Nina Gold, an amazing casting director in London. I knew they were being quite specific about who they were seeing, so I just didn't want to make a fool of myself, essentially.
ThenI started watching footage, the documentary, interviews about her life – things that really were quite telling [about] who she was as a person. There was just this thing about her and that carried me through the entire process I was watching. And there was this magnetism, this intensity, this deep well of feeling, emotions and intensity, that I was so drawn to. I felt that we'd drawn from Amy, herself. It was all there in her music. And for the people who still listened to her music often, this is for them. In the narrative around her life and death, I felt that what we'd lost really came through, but it seems like there's a double-edged sword here.
Q: There's so much media and coverage, so many perspectives to sort through. Talk a bit more about your process and how you blocked out the noise and chose to privilege us with her perspective with what was there?
Sam Taylor-Johnson: It was important from the beginning to just block out the noise. There was a lot, especially when we were filming, and it became louder and louder. The louder it became, the more determined I was to just keep driving forward with it through her eyes and to uphold her. Our press are quite famous for pulling down anything that might seem to be successful in any way. It felt like those voices saying we need to protect her legacy were also the ones who pulled her apart during her lifetime. That emboldened me in a way to shut those voices out. The decision around how and what sort of film was going to be quite quickly came into place.
When I sat down with Matt Greenhalgh, who wrote the movie, I said, "If we are going through her workstyle perspective, with "Frank" and then "Back to Black," obviously those are the keys to this film. "Back to Black" really is a love story and tells us everything within it. It became our framework. I knew that that was difficult for a lot of people who had a lot of opinions and judgments. I felt like her declaration of love and the power of that love was important to uphold in order to understand the creative journey of "Back to Black. In a way, we went into her perspective saying, she loved her father and she loved Blake: therefore, that's our view. We still see some of the things that are highlighted in the documentary that people feel strongly about. They're still part of our film, but they're not seen through the lens of judgment. It was quite freeing to stay in her shoes on that journey.
Q: This being a love story, you think immediately of romantic love. But the relationships that I was most struck by were those she had with her family. Talk a bit about choosing actors and having them light up those roles?
Sam Taylor-Johnson: With her Jewish grandmother, it was clear — during the research and hearing the stories from the family and others — that she was so much a part of the fabric of who Amy was, through Grandma Cynthia’s style and love of jazz and music. So it felt like, "Okay, this is worth going further into and strengthening that relationship." But when I went to Lesley [Manville] initially, she said, "Oh, I don't know if there's enough on the page for me." I said, "Look at it like this is the fabric of Amy." Once Lesley came on board, we then wrote more scenes because she was just so exceptional. We just honed in on those relationships that we felt were really important to the narrative of this story. Obviously, within -- I don't know how many minutes it was, I've forgotten --- so much had to be dropped by the wayside. For me, as a storyteller, I have to just find my path. The Winehouses -- Cynthia, Mitch, and Janis — plus husband Blake were on a path.
Q: Talk a bit more about the music. Obviously there's a great blueprint here. Did you have to make difficult decisions about what songs were included?
Sam Taylor-Johnson: I’ll start, but I want Marisa to take over on this because I'm talking too much. What I had quite early on was one of her playlists. On that playlist were The Specials and Minnie Riperton. It was quite a gift to have that. Amazingly, of all the things that were written that weren't Amy's music, we managed to have access to it. But when I started the movie, I had all the music rights from Sony and Universal. I didn't have to have approval for anybody. I could just make the movie I wanted to make. Matt wrote very specifically for the songs, almost like it's a musical in the sense that it belonged to the narrative structure. You couldn't choose "Love Is a Losing Game" and switch it with "Stronger Than Me." It really was laid out that way.
I'll let Marisa come into this because I just want to say, when I met Marisa for the audition, she said, I remember, "What about singing? I'm not a singer." But Marisa sang that entire movie. Every song you hear. So from the position of declaring she couldn't sing, what you saw is very contrary to that. Okay, you can talk about that...
Marisa Abela: I think what became clear was, as I was reading the script more and more, and watching more and more footage of Amy, was that these albums are so iconic and incredible from a songwriting perspective as well as a musical one. But what was so incredible about the performances I was watching was that they were completely different every single time. If she was in a bad mood – and she was often in a really, really bad mood – you wouldn't get half the song from her. If she was in a great mood, she was singing all over the place, amazing riffs. To certain members of the audience, this is the thing that made Amy a live performer.
What weirdly felt like the most authentic choice was to be able to use my own voice to make whatever choice came to me in the moment from a purely impulse perspective as an actor. What was inspiring me at this moment? Is it that I'm looking at Blake during "There Is No Greater Love" and I'm so overwhelmed with feeling and emotion that I want to hold on to a specific sound for longer so that he can hear me through all of those decisions? In the same way, the first time you hear her write one of her own songs with "What Is It About Men," I wanted to be able to think about each line. How am I formulating this moment? you get to see the behind-the-scenes of the creation of a song. That's a really beautiful thing. If we were cutting to the studio recording of "What Is It About Men," for example, you couldn't have that scene of Amy sitting on the bed writing it for the first time, getting mixed up with certain words.
I basically felt I needed to get as close as possible to something that sounded as recognizable as possible to one of the most recognizable voices that you would believe in. The truth is, if you listen to them side by side, I'm sure there are huge differences. But it doesn't matter as long as you believe what she's saying and as long as you believe what she's feeling. That, to me, was always the most important thing as an actor, obviously. It's the intention that matters. Process-wise, I trained very hard and also learned to play the guitar. I listened to all the people that I think she would have grown up listening to. As Sam said, we had lots of playlists of hers.
I was aware that she grew up listening to Billie Holiday, Sarah Vaughan, Diana Washington, Ella Fitzgerald, Lauryn Hill, Ray Charles. I just surrounded myself with that music and was singing along to it all the time. Then I was using the techniques I was learning with my singing teacher that were Amy's tecjmoqies. We have a different face. She has a bigger jaw than me. She had a different nose to me. We use different resonances. So, it's different. But the intention is the most important thing. I was training for two hours a day, every day, over the four months with my singing teacher.
Q: There's so much to dive into with its emotionality, but you touched upon something that I wanted me to talk to you about – creating these scenes like Glastonbury, the Grammys and things that we have enormous touchstones for beyond Amy's experiences. These are media events that happen all the time. So practically recreating these scenes, which you do so successfully, can you talk more about them?
Sam Taylor-Johnson: Oh, I'd love to because I'm so proud of Glastonbury. When you see that big open-air festival, we shot it in a room not much bigger than this theater. We just had brilliantly creative teams working on this. Glastonbury for the rest of the year is just a field. So all of those stages and everything, we had to recreate and film it. I had an incredible sound crew. What we created, it took months to get that sound exactly right. Then the Ronnie Scott scene early on. That was the only time I ever saw Amy play, in a young, up-and-coming Voices of Jazz. How old was she? Probably 19 or 20. It was at Ronnie Scott's. I used my memory of what it felt like being in the room with her to recreate how that would have felt. But yes, a lot of it, like the Grammys, we had YouTube running alongside what we were filming to try and emulate it as much as possible – like the same camera angles. Marisa's performance, as you can see, was absolutely spot-on. Every finger movement was incredible. So it was fun. It was so fun to recreate this. And, it's fun to watch it.
In 2015, when Stephen Colbert launched his version of the Late Show — taking over from David Letterman — one of his first moves was to invite musician Jon Batiste and his group, Stay Human, to provide the nightly musical accompaniment. In 2020, he co-composed the score for the Pixar-animated film “Soul,” for which The New Orleans native received an Academy Award, a Golden Globe, a Grammy and a BAFTA Award (all shared with Trent Reznor and Atticus Ross). He has garnered five Grammys from 20 nominations, including an “Album of the Year” win for “We Are” in 2021. With that under his belt, he left the Late Show in 2022, to develop his “American Symphony.”
That orchestral creation became the basis of director Matthew Heineman’s documentary, “American Symphony.” — released September 2023. This doc records the process of Jon Batiste composing his first symphony while his partner, writer Suleika Jaouad, is battling the return of her cancer. Netflix and Higher Ground Productions are distributing.
Heineman’s inspiration and fascination with American history led him to early success with the documentary “Cartel Land,” which was nominated for a Best Documentary Feature Oscar, a BAFTA Award for Best Documentary, and won three Primetime Emmy Awards.
In 2009, the 40-year-old founded Our Time Projects, Inc., his New York–based production company, which would later release “Our Time,” his first documentary, about what it's like to be young in America. His 2021 film “The First Wave” received the Pare Lorentz Award from the International Documentary Association, was shortlisted for an Oscar, and was nominated for seven Emmy Awards, winning Best Documentary, Best Cinematography, and Best Editing. “Retrograde,” his 2022 film, was nominated for the DGA Award for Outstanding Directing and won an Outstanding Editing Emmy.
This piece is based on the duo’s appearance at a screening in The Museum of Modern Art.
Q: Jon, the film is an incredible look at the intricacies of the creative process. What is life like living inside your mind? You hear all this noise, you're singing, improvising, and then, it just needs a little more than that.
Jon Batiste: Hello. I'm always thinking about things that I don't know that I'm thinking about. My subconscious mind is always going.
Q: The known and unknowns?
Jon Batiste: It's happening and I feel something churning when it really gets going and then it diverges. It's so hard to make some visuals more than not. Something I can't explain, but the subconscious is working and there's things that are happening in the present -- and then both are working. They come together in moments and that's typically where the music comes from.
Q: Matt, what's it like to have an artist like Jon as the subject, the protagonist of the story?
Matthew Heineman: I think we all owe so much to them for opening themselves up during such an unbelievably vulnerable and sensitive time of their lives. I've always tried to approach filmmaking in a very improvisational way. Every film I've ever made is something completely different than when I started. And this film is no exception. It was really fun to apply that ethos of filmmaking to one of the greatest improvisers in history. And to dance with him... in both the macro sense of trying to structure this story and in a micro sense, within each day shooting and within each shot.
Q: There's so many moments of profound insight in the film from you, Jon and the people around you -- through your relationships with them and your creative process. At one point you talk about genuine acceptance and gratitude which requires so much humility and self-awareness. How did this function in your work?
Jon Batiste: The thought of being great is a dangerous idea. When you're creating music in the most pure sense, you become a vessel of something that you don't fully understand and couldn't ever fully grasp. The music is a way to point at it and share it. That's always going to be greater than you. Now, if you get used to functioning in that stream of consciousness, that creative place that all the ideas come from, you can start to think that it's you. That's where self-awareness comes from. Even though I have so many ideas all the time, and I'm always creating. I've always managed to make it happen. I can lose that one day, anybody can, because it's not me. That's an important part of the work. That's how it functions in the work. It's the most crass and direct sensibility of thinking about how it functions is, you ain't great, bad. You’re just a vessel. If I can stay in that space then the world will be great.
Q: Matthew, can you talk about how different it was in making this film from making some of your others. Being an artist yourself, right, and witnessing, filmmaking is really a profound act of witness. Jon's process and Sulaika’s relationship, talk about what it was like to use your craft to show us their journey.
Matthew Heineman: Obviously, if you look at the films I made, this is definitely different yet in many ways it is the same. I approached it with the same fear, I think, that I approach every film. Am I going to fail? How am I going to do this? We have an amazing team, obviously, making this film. But it was an exorbitant film, and we had to really commit to this process. At first, Sulaika didn't want to be part of the film, apprehensive of being seen as the sick wife in this story. It took a lot of trust building with her and with Jon to make them comfortable with my very immersive style of filming. We were shooting 12, 16, 18 hours a day, seven days a week for seven or eight months. We shot 1500 hours of footage. It was a real commitment.
After about a month or so, we'd all go over to each other and were like, "If we're going to do this, let's really truly do this and commit to this. The thing that probably scared me the most was depicting the artistic process, depicting what Jon just described, this sort of magic that he just channels as a vessel as he said. I think that moment after he dedicates the song to Sulaika, we hold on that shot for 92 seconds or however long it was. In most films, it's a strange choice to hold in silence for so long. It was like Jon literally writes the story for us. With all this weight on his shoulders, his love for Sulaika, how he's changed life into art, and art into life. It's all there on his face, his hands, his left and right hand. I just love telling stories without words, telling stories with emotion — and shooting based on emotion.
Q: When you talk about shooting and capturing emotion in the film, there's just so many moments. There's things that you can tell about couples that typify a relationship, where you can see the relationship without having to describe it. These two are just in it. Everybody knows how much you love your wife, which is really good.
Jon Batiste: That's one of the things I noticed. I was like, “Man, that's a good choice. Yes indeed!” I'm always joking around in that situation about the reality of not knowing if she was going to make it. All of the things that were going on outside the hospital and in the hospital room, that element of the relationship is like a force field. I didn't realize what that would look like and how much that's something that insulates us from the harsh realities of life. It's really deep, the certain things in your relationship, value systems, humor, and creativity.
They all become these means of survival. That's really one of the things that we picked up on and one of the things -- from the beginning -- that really brought us together and helped us weather a lot of things. I noticed that really did come across, as Matt and Lauren, as filmmakers and the production team, are finding a way to notice that in the footage and then carry that narrative thread throughout. That was powerful, because it also ties into the way that the themes of the score and the symphony tie in with the many themes within the film. It was very powerful to see that depicted through this truly masterful work by this team.
Q: Matt, it takes 14 minutes before the first few notes of what we will eventually discover is the beginning of "American Symphony." It's just so great, it's really subtle. It really has wonderful touches about the actual concert at Carnegie Hall and what that must have been like. Jon is just getting started and then the power goes out. Only people on the stage realize exactly what is going on. Then Jon literally plays the power back into existence. Jon is literally at the piano and conjures electricity. How did you deal with that situation? What were you doing? You've got folks with cameras all over recording it all.Matthew Heineman: I saw that Steadicam and I was like, "That's not even sending in the camera to get that shot. I definitely was like, "Wow, this is great." To be honest, it was very confusing. There's confusion with Jon and confusion about what is happening. The lights are on, but electronics are not on. Oh, all the recording devices are off. It had been a pretty long battle with the folks at Carnegie and various other entities to get a steadicam on stage. For me, it was really important to see that experience through Jon's eyes, to hear the creak of the bench, to see the sweat on the brow, to see the crowd from his perspective. That's the man who literally -- I can tell you -- walked into Carnegie Hall, and was up there to date. Thankfully, I won that battle. And if it wasn't for that Steadicam, that whole experience wouldn't have been recorded. The shotgun mic on the Steadicam is the sound source for that moment and it's a beautiful moment. It's so indicative of Jon. He takes a second, breathes it in, and he's like, all right. Well, I'm impressed. It ties the film together in a really beautiful way.
Q: Jon, what was that like for you? Sulaika is out in public, for the first time in almost a year, right? You have gotten really tough news about this. You enter the space in Carnegie Hall, and in a way, the entire hall shifts with you. You're in this resplendent suit. It's reflecting light in all directions. You walk into Carnegie Hall, all eyes are on you. You're doing your thing. Then, power cuts out. There's still this fountain of joy coming from you. You're talking to all these artists about what we want them to bring to the process. How did you make the decision that we're going to go on?
Jon Batiste: The great Joe Salem, the drummer who I played with since we were in high school, he's from Pennsylvania, and wears a cowboy hat. Joe has noticed this theme, it's almost like a tradition from every show that we've played for almost 20 years. Something always goes wrong [laughter]. Something always breaks or somebody's pants split. The bass drum pedal will bust. Something will happen, the mic will shut. There's a real beauty to that. Furthermore, I think there's an actual purpose to that. There's a divine logic, a cadence that's meant to be a part of my work.
Often, I'll create things in these moments within the composition. Nobody on the stage will know what will happen in specific moments. It's designed for us to show up in a moment together. [So, there are blank bars on the page.] It will be even more abstract than blank. It will be creating a scenario. Sometimes that requires me, with this piece that I did, we had to create a notation that's different to standard notation of music in order to get everybody to know it. Okay, this is the scenario. Now that we're in the scenario, let's see. That was one that I didn't initiate. But the beauty of it is now that piece that has improvised composition. The spontaneous composition of the moment will now be in "American Symphony" from henceforth. When we perform it again, this piece is now so. This is the beauty of these things, that happens. Discovery is always greater than adventure [applause].
Q: Your performance is seamless and comforting and yet so profound. It's really obvious that you as the vessel, like you said, developed from clearly a strong faith.
Jon Batiste: The present is all we have. What we see in the present oftentimes doesn't indicate the full range and majesty of the truth, of being, of who we are. Many times people see a person, but they don't tell the good about his color. They see somebody and there's so much in all of us. I have faith in people because there's such a transformative power that people have within them. Beyond that, the creator of all things, the God of the universe, has created this planet and life force. This moment in the celestial expanse of time, I have this measure that keeps changing and expanding. It's un-understandable. It's unfathomable. That in and of itself gives me faith that we can't grasp what is, and we can't know what will be.
What's left? The transformative power that we have within us, the trust and belief in the thing that created this whole existence as we know it... We can measure it to a limited capacity. What we create and make so infectious, is so inevitable, so true and profound, real and moving. It's drawing us in and speaking to something greater than ourselves. It's showing us a way to something else that we can't even articulate. What a beautiful thing to do, share and be in the world. I could go on and on about faith, but I'm just grateful that God put it in me to share a message that will uplift and help people.
Bayona (L) & Vogrincic
Poor Things
Director: Yorgos Lanthimos
Script: Tony McNamara
Cast: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Jerrod Carmichael, Christopher Abbott
It may have taken a while but director Yorgos Lanthimos’ “Poor Things” ultimately rose to the Awards season challenge, winning several Golden Globes and garnering 11 Oscar nominations and Emma Stone taking home Best Actress and the film also winning costumes, production design and makeup and hairstyling. In this fractured tale inspired by the Frankenstein creation story, actress/producer Emma Stone plays a re-animated Bella Baxter as a fully grown body woman with the brain of a rapidly maturing child. Bella doesn’t hold back as she discovers the joys of masturbation and, further on, energetic sex — which she calls “furious jumping” — with Mark Ruffalo’s domineering, and equally unclothed, paramour. Then she explores the inner-workings of a Paris whorehouse engaging with many men in many ways — but on her terms. The movie’s sexual candor is only some of the trappings to this extraordinary story of a woman — though born of men — comes into her own. In exposing herself aesthetically and physically, the seemingly fearless Stone is one of the rare A-list actresses willing to risk such exposure for her art.
“Poor Things” is a no-holds-barred re-imagining of female empowerment displayed in a thoroughly fantastical environment of striking colors, costumes and landscapes. As a result, the movie is rated R for strong and pervasive sexual content, graphic nudity, disturbing material, gore and language.
Though the cinematic vision is Lanthimos, the essential story comes from veteran scriptwriter Tony McNamara, an Australian playwright, screenwriter, and television producer. Born in 1967, he’s known for his work on the scripts for “The Favourite” in 2018, the historical comedy-drama film directed by Lanthimos, also starring Stone. Originally a screenplay by Deborah Davis, written 20 years prior to the film’s release, Lanthimos and McNamara worked together to refashion it into a final script resulting in it winning, or being nominated for, many various awards at the time.
McNamara also created “The Great,” a series revolving around the life of Catherine the Great, starring Elle Fanning and Nicholas Hoult, which premiered on Hulu in May 2020. It’s based on his period play about Catherine, which premiered at the Sydney Theatre Company in 2008. McNamara also wrote a film adaptation of it as well.
Q: Talk about the process of adapting this from the book by Alasdair Gray. That “Poor Things” is very much written from the male perspective in terms of people discussing and describing their experiences with Bella. The film switched that into [a story] from a female view of the world. What did it take to adapt and shift the perspective?
Tony McNamara: The book is a big Scottish classic — it’s wild and has hundreds of pages about Scottish nationalism which, you might notice, is not in the movie. Bella’s story was told by the men like Duncan and Max; they all tell you what happened to her. You never get her experience of it. Yorgos read it and we both felt the same — she was the character he was interested in. That’s an interesting story and it seemed like a great thing to do. The point of the novel was that the men controlled her narrative. While keeping that idea, I wanted to flip it so that film-wise, it was her story.
Q: This is the first time that you’ve done an adaptation from a book. What were the unique aspects of doing that?TM: Yes, it was the first time and when I read it, I thought the first one should be the baby’s brain in the woman’s head [chuckles]. But Yorgos is amazing and we had such a good time on “The Favorite” that the biggest thing was to work out what to tell from the book. We could just depart from the book because I adapted material from history and stuff. I’m always a bit like, “Well, a book, that’s one thing and a movie is a whole other thing. How do we make a movie that has a relationship to the book but isn’t really about the book.”
That started with the Bella thing, which let me invent a lot because the men told her story [in the novel]. I could invent her story because we didn’t really know… There was nothing there when she went to Portugal, we knew she went, but we didn’t know what happened there. I was creating this sort of internal story when she went on her journey, Yorgos kept saying it was a fantasy. We’re both Fellini fans so we thought it should be a big European style, old school stage movie.
How do I create a language that’s going to be big enough for what he’s going to do? I had to create this sort of dialogue that felt baroque but was also contemporary enough that you could feel it emotionally. That was my main thing. You’ve got to feel her journey.
Q: You adapted from history before. What you do with language is take elements of period language, but then you really look at it from the perspective of a modern audience’s lens into it. You created this unique amalgamation. So for this one, in particular, how did you find the way in to make the language work in that regard?
TM: I knew the scale of this story and also I love language. Half the time, I’m not serving the audience, I’m serving myself [chuckles]. I think it’s fun to create a particular language for a movie, which is why I was really drawn to doing this. Bella had a particular language and it was a character where you had to evolve her language, which you never get to do. Usually the person just talks the way they talk. But with her, part of telling the story was changing the language throughout the narrative. So it’s how to do that and make it fun.
Q: It’s interesting how her language changed, even [if it’s] just with the grammar. It’s the same way when you learn another language, you learn the present tense first. She’s speaking specifically in the present tense in the beginning of the movie but that evolves. How did you find those different layers and textures of grammar and language for her?
TM: It was like knowing where to start. We had this geographic journey, so I used the geography to change her language through each geographic point. She would change a little bit through it and I knew where I wanted to start. She talked like my four-year-old. He was a real inspiration. He’s very proud now. When Yorgos and I were developing it, we were having lunch one day and I was telling Yorgos about my son and I said, “He’s kind of a sociopath and he’s only four years old. We were in a restaurant and it was really loud. This baby was crying and my son looked at me and went ‘punch that baby.'” I went to Yorgos, and he said that we should put that in! So when she’s in the restaurant, she goes, “I’m just gonna punch that baby.” My son feels like he should get a credit now.
Q: We should see if — in the DVD version — he’s given a credit. Bella changes so much throughout the script. You talked about thinking from different specifications. At the beginning, she started out pretty much a toddler and then we reached a point where this is when she’s 16. When she’s leaving home for the first time, she’s like in her early ‘20s at first, then her mid ’20s. How did you set about creating those different stages?
TM: In my head it was just to create. Basically at its core. In a way, this is a coming-of-age story. It was as simple as that. It’s like watching someone grow up and discover their sexuality and then their intellectual life and they come to terms with being mature and emotional. There’s a point — on the boat — where she’s so self-regarding and then realizes there’s a world out there and she has to be part of it.
I felt like there were certain points where — I think the contemporary thing for me was things like, “Oh, you go to college and discover books and you’re like “Oh books and ideas!” There were all these steps where you get a boyfriend and you think he’s great and then you realize at some point, “0h my God, he’s the worst.” There were simple things I was always thinking of but not to take it away from the bigness of it. I had to ask, what are the basics of it in terms of us, in terms of just a human experience?
Q: That idea for Bella was to be like, “Oh, I’ve got a boyfriend but he’s the worst.” That’s the arc of Duncan [Mark Ruffalo], where it’s so great because he’s such an audacious character. We understand that he’s full of shit from the get-go. But she takes everything quite literally. So when he says, “I bedded over 100 women,” she believes that to be true. What was it like writing the dynamic between those two characters with that in mind?
TM: It was really fun to write because he is such a classic trope and yet I felt sorry for him because she doesn’t have any of society’s ideas which he owns. He has them all in his head and it’s like a paradigm he lives through. She doesn’t have any of that. So he can’t even get the traction that he would normally get from a person. He sort of dissolves. I enjoyed writing it but I didn’t have as much fun as I did watching those two do it. They were so freakin’ right.
Q: How did you shape the tension that starts to fester in Duncan because the less that he succeeds with her, the more frustrated he becomes. He’s also watching her with the idea of who he wants to be in a world with no care.
TM: I think that was what the irony was. He sees himself as a free spirit and he’s outside society like all the men who have their view of themselves. Everyone in the movie had a view of society that she doesn’t ascribe to. Even when they try hard, she either resists it or is oblivious to it. It was constructing that, and some people understood that … like Max [Ramy Youssef] who went on a sort of positive journey in that respect. Duncan just dissolved more and more because he didn’t know what to do. I liked the idea of that.
Q: It’s great the way that you have other characters start to use elements of her language. Suddenly another character uses the phrase “serious jumping.” How did you find those moments when you wanted other characters to step into her world like that?
TM: She’s such a powerful character as she goes through life and gathers agency, I think she’s so charismatic because she doesn’t [back down]. Beat to beat [it’s] just a pure response that isn’t shaded by anything. How she feels in that moment without judgment of herself, I think that’s attractive. I felt like [with the] other characters, [it] starts to rub off on them a little bit.
Q: What’s the difference in writing a character who is so innately reactionary but in such a positive way?
TM: I was talking to Emma about it. It’s great for you as a person. I think she felt the same, playing Bella. I think for her and me, and I’m sure for Yorgos, writing that character and her playing that character, you’re aware of how much you’re shaped by everything. For her, playing a character who is just shaped by a really pure response and we don’t get that. I think that’s why she’s a character people can respond to because it’s a bit of a wish fulfillment of like, “that would be good if you could just live life like that”
Q: We get an opportunity to watch her learning in real time and developing her back story as a character. How did you set about making sure that you are always cognizant of what she has already learned in the space of a scene to make sure that it comes into play here?
TM: I have a really strong process. I guess I’ve always thought about what she learns. Yorgos and I were very meticulous as it goes. We didn’t do that many drafts. But what we did at the end is, we just went line by line over three or four days separately. There’s always time between it and as there’s a three-week rehearsal. Then we tweak that a little bit if we hear things that aren’t quite right or Emma would say, “Oh, that word seems too sophisticated for her at that point.” We’re very meticulous about her verbal journey as well as Emma and Yorgos creating the physicality of that.
Q: It sounds like with that process as well in the way that you talk about the film previously that you really aren’t doing rewrites during production and that even during rehearsal, it’s right mental.
TM: It’s joyful. I’d just hang out and drink coffee and watch them do their thing. No one sees the script for a long time. First person to see the script was Emma. I think the producers don’t see it for years and then when they see it, he’s ready to make it. I think his view of it is that we spent four years on this by making it because I think it’s right. He is a very strong individual about how he feels artistically. He’s like, “That’s what we decided; it is what it is!” He never really made changes on “The Favorite.” He rang me once [to make a change] because they literally couldn’t do something physically. Through the couple of films we worked together, he’s never changed anything.
Q: This was a project that Yorgos was trying to make since before “The Favourite.” What was the chronology of when you two started working on the script?
TM: He’d moved to London and started on “The Favourite” and knew he wasn’t… He’d only made “Dogtooth” and “Alps” so he was like, no one’s going to give me the money to make “The Favourite.” It’s going to cost a little bit because of the period. So he went off with his Greek co-writer, Efthimis Filippouand they wrote “The Lobster” so they could try and make something cheap.
While he was doing it, he rang me and said he’d read this book [“Poor Things”]. Even when he was making “The Lobster” no one would give him any money to develop “Poor Things.” Everyone was saying, “We like you” but we’re not doing the baby brain! But once he made “The Lobster” — and there was some buzz — Film4 came in with some money and he was like, “Do you want to do it?” So we started it. We were in pre-production for “The Favourite” and I started writing “Poor Things.”
Q: Going back to Bella as well, one of the things that’s so refreshing about her as a character is she’s not necessarily carrying this internal dialogue. Everything that she thinks and feels throughout the movie is said out loud. How is that a totally different approach to writing a character for you?
TM: When I write, I’m just asking myself, “Where is she coming from? What does she want and what’s in her way?” I knew she didn’t question herself much and that was the joy of her as a character because she wasn’t super conflicted about anything. Except towards the end, when she has to confront her feelings for Godwin [Willem DaFoe], but even then she has clarity in the two different feelings she has. I think that was why she was a really refreshing character to write. She manages to be very simple and very complex at the same time.
Q: How did you find what you wanted to be the essence of the relationship between her and Godwin? It’s such a fascinating dynamic. He’s had the experience of her being an experiment and now he’s kind of carrying it out with a lot of love and heart.
TM: Yeah, I think for us it was one of the most interesting relationships we explored in a way because he was an experiment as well. In the book, he’s not an experiment. I made that up so that we could understand him a bit better. His father made him an experiment so it makes sense. He thinks everything is science and everything’s an experiment. But deep down, he’s a guy who wants someone to see him and not think he’s ugly — someone to “get” him. He’s someone that’s never had that and he doesn’t quite know how to deal with feelings.
That’s why he rebels but it’s not in the book. There’s the Margaret Qualley character where they just make another one [like Bella] but not quite. That was our idea of how we can show him go through a journey. I was like, “Oh, he makes another one.” He’d go with his feelings; by the end of the movie, he realizes his feelings matter.
Q: What was the difference that you wanted to show with Godwin and Margaret Qualley’s character when that comes up? It’s such a different experience for him.
TM: I think because rather than replace [Bella], it was supposed to show the idiocy of what he did by trying to do that to himself. Then he understood it wasn’t the experiment he loved, but it was her.
Q: With the narrative up to where Bella goes back to her ex-husband to learn to visit her old life and learn about that. Initially the idea was that it was sort of a kidnapping and it was against her will. But then you realize that it was important for it to be her choice to go there. How did that change for you?
TM: Yeah, I think we’ve done it. We’ve done a couple of years and we were having lunch and everyone really liked the script at that point. We had long periods of silence. That’s our process. We just sit there not talking for long periods. We all thought there was something wrong with the third act so I said I’ll go think of something and then I’ll text Yorgos.
What if she chooses it because she’s choosing everything else? So why wouldn’t she? She’s fearless and that broke it open for us because the other way – when she was kidnapped, and then there was a shooting and that’s how it ended – he was kind of like, I think they shot him or something and he died. It didn’t feel totally right because it wasn’t weird enough for the rest of it. So we brought in Christopher Abbott’s character. I was always nervous about that because it’s hard to bring in a character in two hours and have them hold their own in a big crazy movie like this. But Chris was terrific [as a bad guy].
Q: How did you deal with the sexuality of the whole film? Decisions you made and didn’t make, where it would and wouldn’t be?
TM: It was always part of that coming of age thing. She’s at a certain age and starts to discover it. A man comes into her life and she’s like, “What adventure do I want to go on?” For me, it was all like, every beat wasn’t so much a sex scene. It was kind of the evolution of the character and of the general story. How it’s shot and how it’s managed was really Yorgos and Emma working together. For us, it was always going to be a movie that was like those ’70s European films where it’s very… Emma Stone was very unapologetic. It made no sense for it not to be very unapologetic. Yorgos was really devoted to that ’70s European aesthetic.
Q: The way you write with layers of comedy which stem from a place of truthfulness. There’s so much comedy and attention that’s created from Bella’s perspective in the world. The way that she refuses to be tied down to other people’s ideas of her — how did you write that in a way that feels so grounded — and then find the layers of comedy that can stem from that?
TM: I always go for whatever’s real, I think I read that someone famous once said, “To make it real, make it funny.” I always try to go from the emotional place of what they want, so I never just go for the joke. Yorgos and I love comedy but I think it’s all built from the ground up and it’s built into the structure — it’s a satire. She’s a fish out of water. Here’s the basics. They’re all trying to control her and can’t, the poor things. They’re idiots. There’s a certain element of comedy that I built into the whole structure. I love funny dialogue.