Tuesday, October 2, 2012

Rian Johnson also says...

'Well, I think you start with a thread line. It’s not until I get the whole thing formed and step back that I can even see where the genre elements come in. If you started from, 'OK, I’m going to weave this genre into that genre and subvert it with that genre,' that would probably be a bad place to start. You’ve got to begin with the story that you’re telling and begin with figuring out where that has to go in order to get to the emotional and thematic place you want by the end. And then you’ve got to look at the needs of that and use the tools of genre to kind of support that and to get it there. So, for instance, it does lead to a thing where the beginning of the movie has like this noir twinge to it because the world of the city is a very dangerous world where it’s dog-eat-dog and people use violence to get what they want and to protect what’s theirs. And then Sara’s world has a much more western feel because it is, as opposed to the dirty vertical of the city, it’s the flat clean horizontal of the farm. It’s got those wide open spaces and there’s a totally different feel. That’s to support this moral sort of dichotomy that I was hoping to build that comes down to the big choice at the end for Joe, which is the city’s way of doing things versus Sara’s way of doing things. So it’s about using, hopefully, the tools of genre to support the construct that you’ve got in your head, which is coming from a story-based and thematic place.'

-Rian Johnson (writer and director of Looper, from an interview with Brian Salisbury, www.filmschoolrejects.com, 2012)

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