There are many directors for the first time in Berlinale for this year, but a few of them come with a kind of independent film credits on Rebecca Linkvichappeal.
The theater writer and British screenwriter worked on the script in favor of “Edda”, the Powlikovski Powder, alongside the director, on “disobedience” with Sebastian Lilio and on “Colette” with Wash and Westmoreland, before he went alone to turn Judy Cantor and Megan Thani. A book on Harvey Winstein who are interested in this field that he will show in the scenario that will become “said” to Maria Sharrara in 2022.
But with “Hot milk“That bend in Palaste on Friday, approached the camera and made it for the first time in the director. Maki) in a relationship based on her mother with a wheelchair (Fiona Show) while the two travel to a coastal town in the sun to meet a mysterious processor (Vincent Perez) who may suffer from a miracle treatment. (Vicky Krieps) and finds herself falling violently in love.
Speaking to Variety, the writer who turns to the writer/director discusses the reason for his feeling of time to make the jump and “blessed” with “Triptych” on the screen.
Am I right to think that you were originally asking you to adapt the book “Hot Milk” before it comes on board as a director too?
In fact, I went to the meeting, and I was not really planning to say this, but I said that I will adapt it if I could direct it. Christine Langan took that. For a long time, I was sad about giving texts. Especially with this book, she felt incredibly female. I could see him. I can feel it. So I really wanted to do so. I left that with Christine and returned to me and said: “Yes, let’s try.”
Was it a special thing about “hot milk”, or was it the time to be guided?
I think it was both. But I think this was also the fragility and strength of the heroine – and I felt that I could deport well. I am connected to every letter. I can also see casting. So I felt strongly that I wanted to stay with me.
Nothing should have been shot in the sun’s rays in Greece?
Ha! Greece was amazing, but it was 45 degrees (113f). The Greek team told us, you cannot shoot in August, it’s crazy. And we thought, they may be a little dramatic. We went there and there were forest fires. But it was the most incredible time and the most incredible place to shoot.
Were you with a casting? You have the great trio of Emma Maki, Viki Krebis and Viona Show.
With this Triptych of women, I am very blessed. They are just amazing actresses and incredible women on a group. And each of them is completely different actresses. So it was interesting to see the various operations that combine.
How was your first experience guidance?
It was great. I loved him. But only because everyone around me was very supportive. Technically, help me. I had a great relationship with Christopher Blovett, the film photographer. The producers have led me in advance – Christine Langan and Kate Glove were amazing. I had this a group of artists and crew who were very and supportive. I knew what I wanted to do and I could see it, feel it and hear it. So everyone was on board.
Did he give you any new respect for guidance? I spoke to many actors who went behind the camera and many of them said that they came from them realizing how much the director was on their plate.
I did. Just the amount of responsibility, which it takes from the first day to the end, is huge. Vincent Perez is a great director and an actor in our movie. On the last day of the shooting, I said, “We have finished.” He said, “No, it was not over.” But this is true – there are many editing operations. Now we have the next birth.
