Richard Ayoade on getting it done

I loved Submarine, and the feedback for The Double is great too, so I’m really looking forward to seeing it. From a recent Guardian interview with director Richard Ayoade – I definitely get what he means about getting past the point of enjoyment.

Ayoade’s direction is assured and meticulous; he spent five months on the sound alone, creating just slightly off-kilter effects to match the film’s aesthetic. He might have envisaged that his experience on Submarine would make some aspects of the production more straightforward, but that turned out not to be the case. Thus it was that a film whose first draft was completed in 2008 took more than five years to finish.

“It’s a completely gut-churning experience but it’s really exhilarating at well,” says Ayoade, who co-wrote the screenplay with Avi Korine, Harmony’s brother. “And it’s sort of continually terrifying because it’s just always evaporating. I heard Stanley Kubrick describe it in an interview as one of those games where you are trying to get all the balls in the hole. If you spoke to someone playing that game and said, ‘Are you enjoying that?’ He’d go, ‘What are you talking about? I just need to get the balls in the hole!’ You reach a point where any enjoyment has gone and you just have to do it.”

Richard Ayoade on getting it done

The future according to Her

A fascinating look at what makes Her so special from Vulture:

Blue-less Color Palette
Cinematographer Hoyte Van Hoytema talking to HitFix:
“Van Hoytema says he was very meticulous about eliminating the color blue. It’s not that he has anything against blue, of course, but he felt that if they restricted a primary color like that, it would elevate the richness of the film’s look and give it a unity. ‘It’s very easy to say we want everything to be warm, but what is warm,’ he asks rhetorically. ‘It was not only that we wanted to colors to be warm but we wanted colors to have a specific identity.'”

Lack of Cars
KK Barrett talking to the L.A. Times:
“Part of the reason we avoided cars is because we wanted to avoid street scenes in general. It’s just too recognizably of an era, and then it would place it in a time, even a future time, which we didn’t want. When you have cars then half the audience starts thinking about the great cars they might have. We wanted trains and elevated walkways, which allowed us to avoid that, and seemed right anyway. Plus in your car you already have another barrier from human contact that you don’t have in public transit. And this movie is about human contact and connection.” 

Keyboard-less Computer
Barrett talking to the L.A. Times:
“I’m always amused at how in science-fiction, shows like’Star Trek,’ there are all these buttons and flashing lights. That never made sense to me. It seems to me like if you could you would just have direct communication with the computer. Also, a keyboard would have dated us. 

The Phone
From the New York profile of Jonze:
“The look of which was inspired by a vintage Deco cigarette lighter that Jonze and production designer K. K. Barrett found in an L.A. antiques store.”

The future according to Her

At the drive-in

Photograph by J. Emilio Flores for The New York Times

There’s a lovely article in the New York Times about the last remaining drive-ins in the States. There are just 368 left, down from over 4,000 in the 1950s. Here’s a quote from the article – read the whole piece here.

Mission Tiki, a Polynesian-themed drive-in with four screens and room for 1,000 cars, has been packed this summer, just as it was last year. At sunset on a Saturday in early July, with the San Gabriel Mountains glowing burnt orange in the distance, children with hot dogs ran between cars, a few teenagers on dates cozied behind dashboards, and families camped out in lawn chairs.