Image Source: Suzanne Tenner
When Steve McKueen dropped the female traces of the widow, whom Fox released in theaters on November 16, he was explicitly advised not to work with Michel Rodriguez.
"She's not worth a meeting because she's tough," she recalls being told repeatedly. "I thought, Um, that's ridiculous. That's what people say about me. Often, if you are a white man, you are perfectionist, but they see me as" difficult. ""
So, the 49-year-old director of "12 Years of Slave," "Shame," and "Hunger" continued and met with Rodriguez in Los Angeles. "She is the most interesting, fascinating, intelligent woman – she deals with life and what is happening around her. We had a house in the fire," says McKueen. "Anyone who is considered" tough "may be just struggling with so many interesting things. God, do you want everyone to be lighter? Bored!"
In a trumpet trilogy race, in which titular women tried to finish the heist planned by their late husbands, are also Viola Davis, Elizabeth Debicky, Cinthia Erivo, Carrie Coon, Brian Tiree Henri, Daniel Kaluuia, Colin Farrell, Robert Duvall, and Liam Neeson. "I just want our movies to reflect the paying audience to go to the cinema, that's all," says McKueen from a diverse ensemble. "Very simple and moderately set up, to have that experience to look at the screen and see themselves."
When choosing a setting for re-engaging British ministries in 1983 – "Unfortunately, since then, it has not changed much," he swore – McKueen has opted for modern Chicago. "It's an enhanced version of today's city, where it is [we can portray] race, politics, police, weapons of war, religion, class – all these fractures in society and how they communicate with each other, "he says." It was very important to do. It's not about picking boxes, but about telling the truth. "(Nevertheless, he will not include as many local nights as next, he is confessed with laughter.)
The film script, written by McKueen with Gillian Flinn, is overwhelmed by timely social commentary, because, like any genre film, "there is no rule, only a convention," he says. "If we do not break those rules, we may be playing the same image, time and time and time and time again."
One extraordinary scene lasts as long-lasting, unconventional taking, in a heganic sub-genre or otherwise. While Farrell, who plays a local politician from an old school, drives out of a visibly impoverished district into a multilayer headquarters, the camera is at the top of the windshield, realizing how fast the socioeconomic environment is improving; In the meantime, his confidential conversation with his employee was heard for the audience. This difference between the two neighbors, along with the revealed face of the characters, causes inconsistency in real life between the public and private behavior of politicians.
"I'm a British film maker, so basically we're always trying to stretch the pound and figure out how we can say three or four things with one shot," McKueen explains, from a particularly effective order. "The fact that the distance was so short between these two places, it required me to do it in a way that only the cinema can."
As the current political era continues to aggravate both sides of the lake, "widows" remind the viewers that such corruption can be exploited in our own yards. However, citizens should not be considered safe. "Some politicians talk about people, and some politicians have their own authority," says McKueen. "Sometimes we feel paralyzed, we think we are helpless, but we can begin by being aware of it – you know what we are against, in so many ways – and we know how to crawl through this environment. If it rains, we can not stop it. we can do is choose our rainwater. "
It's not really important for McKueen, however, if politicians themselves see their "widows". "I worry about people who see this," he says. "People can put them in power and they can vote. People have power."
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