Todd Haynes spoke of his plans to make a Sigmund Freud film at the Zurich Film Festival, where he is presenting his The Velvet Underground.
“I have to make a film about Freud before I retire completely,” he shared during his masterclass. “Every day we lean towards authoritarianism, anti-immigrant sensitivities, conservative government and fundamentalist tendencies, and a small part of what Freud expected. There is something very radical and intensely observational about his work. ”
Before focusing on the father of psychoanalysis, Haynes will first turn to singer Peggy Lee, whose biopic “Fever” will begin production next year. For a long time, the project was originally meant to star Ridge Witherspoon, with his “Wonderstruck” and “I’m Not There” colleague Michelle Williams now tapping into the lead.
“It’s something I started to develop between ‘Carol’ and ‘Wonderstruck.’ Then I put it aside and read it again during Covid-1,” he said, adding that As will discuss the role of a woman.
“A very unique type of actor who represented explicit sex, especially for his time. He was May West of the popular song,” he said of Lee, adding that the script would be built around his memorable performance.
“Something strange happens to Peggy in these rooms – it seems completely intimate and honest. She has that incredible coolness about her but there are also some performances. And a lot of big sadness b.”
Haynes discusses how he tries to portray music in the film, arguing that it’s all about finding the right visual counterpoint.
“[In ‘The Velvet Underground’] I wanted you to travel through this movie, feel that the music and pictures are leading you. Not words, although we got great people to tell this story, ”he said.
Mentioning her friendship with director Kelly Richard (“one of my favorite filmmakers”) and longtime producer Christine Watch, she also spoke about her family, who were inspired by Franco Jefferylli’s 1968 film to see her play Shakespeare’s famous lover.
“I have some footage, of a 9-year-old, first appearing as Romeo and then Juliet. My mother was: ‘It’s nice. Anyway.’ My first attempt as a young, restless short filmmaker, ”he joked, referring to“ Mary Poppins ”as his annual childhood favorite.
“I have obviously become obsessed. It wants me to draw pictures, serve songs, replay scenes and dress my mom like Mary Poppins. Just all revived. Now, kids can see things over and over again. “
Hares, who received Oscar and Emmy nominations for “Far from Heaven” and “Mildred Pierce”, was the first to catch people’s attention with her experimental short “Superstar: The Karen Carpenter’s Story” made with Barbie dolls. It is yet to be made public due to a copyright infringement lawsuit filed by the late singer’s brother.
“It was ultimately about the right to music,” he said.
“I thought: Wouldn’t it be very interesting to make a movie like ‘Star Story’, to follow the conventions with love and not have any actors in it, just dolls?” I remember sitting in a cafe in New York listening to Carpenters sing. I haven’t thought about Karen Carpenter for a long time, even though she recently died of anorexia nervosa. Suddenly that deep voice and that pain really registered something real.
He was always interested in how everyone could understand how genre and narrative traditions form a communal language, noting that his films were a “challenging system of consistency”.
“It was something [Rainer Werner] Fassbinder says about the movie: You can’t revolutionize the audience. All you can do is show them the conditions under which a revolution is needed: a revolution of the mind, of the soul, in your own life and in your own choice. When you show it as a view, you deprive viewers of their own ability to make an effective change.