IV. Off Set: Dinner
BRODY It’s this beautiful and intense day of work, and then, when it’s over, there is [deep breath] a giant exhale and we all come home together, and it’s a giant family dinner.
WRIGHT It’s a very smart mechanism for creating focus and efficiency, but it also creates cohesion. I just finished my second movie with him [in Spain]. It is a very palatable asylum. It is extremely well served.
BALABAN The only big decision was, which end of the table am I sitting at today? And everywhere you went, there was a friend.
SEYDOUX [At dinner] you have all the technicians – there is no hierarchy. Sometimes you can feel isolated when making a movie, American movies especially – the stars are in their trailers. With Wes, he needs a deep connection with his actors, which is why I think he works with the same people all the time. He is also very shy. And these are all his friends, even me, I’ve seen him now, he’s a friend.
V. The Allure of Wes (and Bill Murray)
WRIGHT There’s a sort of traveling circus where Wes is the ringmaster. The idea that his films are shows and that the setting is a kind of cinematic proscenium, and he wants performance – I really like that. It’s refreshing to break away from the hyperrealism into which the cinema is often sucked.
BRODY This one [in Spain] I really feel like I’m in an acting summer camp. I love all my roommates, my mom visits me – she comes everywhere from “Darjeeling”. [His mother is the photographer Sylvia Plachy.] Wes will put her in the background. My mom is having the best time of her life.