![]() In American Playhouse’s “Who Am I This Time?” a community theater actor played by Chris Walken is very modest and humble and doesn’t take any space and then suddenly he’s Stanley Kowalski and he’s like a magnet. But it’s magnificent, what happens when Ben starts to act. I wrote the film with Franz in mind and then he wanted to do it. I saw Franz in Michael Haneke’s “Happy End.” Specifically, there’s a scene where he does a karaoke performance of Sia’s “Chandelier” and he’s an animal in the best of ways. When it was played by these actors, that identity labeling disappears because that’s just not who they are. When I wrote the film, I thought identity would be central to the content of the film. The boundaries are less rigid for younger people than they seem to have been for me and you. The generation that this film is written about doesn’t look at labels in the same way as our generation. How did you come up with the idea of a man happily functioning in a gay marriage who gets the urge to start a relationship with a beautiful woman? Sex is certainly a phrase and a chapter in the film. Mubi is supporting the film as it is, and it would be impossible to separate the film from the sex in the film. In Spain, this film was rated 12: 12-year-olds and older are encouraged to go see this film. The impact is in the residual effects of creating a sense of fear in in artists that they shouldn’t make certain kinds of work if they want to be acceptable. This kind of censorship discourages people from making honest work. I will say, I prefer the pre-Code movies, and I want to be a part of that history. The MPA Code is an extension of the Hays Code, which was written by the Catholic Church. And since then, it’s the city that I’ve had relationships in. It’s a city of cinema and it changed my life. Paris is a city that I first lived in when I was 20 years old, and I didn’t know anybody and I didn’t speak good French and I went to the movies two or three times a day. And that’s the challenge for American filmmakers. The space for sustained careers is getting narrower. Where’s the Cassavetes of our time, making 14 of those films? Not one, not just two. Does it feel different than “Coming Home”? Does it feel different than “Ordinary People”? Does it feel different than “Five Easy Pieces”? These are long histories that we begin to believe never existed in this culture. ![]() That’s because American film has changed so much. ![]() It’s in English but it doesn’t feel like an American film. Like several of your recent films, “Passages” feels European, like the intimate movies that they make in France or Germany. Paul Mescal: I Was ‘Too Afraid’ to Approach Pedro Pascal on ‘Gladiator 2’ Set ![]()
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