Monotony that would ordinarily drive someone to madness is given ascetic lift by Reichardt’s framing: Blauvelt’s sleek white moonglow over the river in Night Moves; Stewart’s dabbing of her lips with a diner’s white napkin that still has the spoon and knife inside; the bare white wall in the apartment where an affair has taken place, the white paint scraping like a Clyfford Still painting. Opening track: "Back in the Bush" by Vagina Jones. At the Museum School, I randomly took a year of Indian cinema, which overwhelmed me completely. The CEO of Milanese jewelry company Pomellato speaks with the. Directed by Kelly Reichardt. Reichardt is less interested in showing you the twig (though she’s damn good at making you see a twig like you’ve never seen a twig before) and more interested in revealing the protective, Mother Hen impulse that provokes the bird to turn the twig into a nest in the first place. Reichardt fanatically refuses to signpost anything that might smack of a main event. Visit megaphone.fm/adchoices. BH: How did you approach the pacing? The series will be shown for the first time in late 2020, in an exhibition at Gagosian, London. Every department is doing their own research, so it’s a bunch of shared information happening, and new information being worked into the script. I want to ask about Evie the cow and working with animals. Consider making this podcast sustainable by supporting it on Patreon. There were things like Lewis and Clark, I was glad that I had sort of done that research already, but with Meek’s, we had so many images to work off. Recorded last fall when Reichardt’s First Cow (in theaters March 6 through A24) and Assayas’ Wasp Network were both playing at the New York Film Festival, this talk sees the two comparing notes on the intricacies of their respective creative processes, from writing through to editing. It had a lot to do with being a woman. In my favorite of her films, Reichardt teases us with big climaxes, as big as the bomb exploding the dam in Night Moves, but she instead pivots and ends each of her Certain Women stories in sad, dejected puffs. BH: Have you read the book Once They Were Hats by Frances Backhouse? Right when we were starting our research, this museum opened near Eugene, called Grand Ronde, it was once a high school. We’ve got that maxim you hear often, about kids and animals being the worst to work with when you’re directing. It’s 1820, so you don’t work with time like it’s ‘now.’ There are moments of action. It landed in a much better place. Those characters are so vivid in the The Half Life; that’s why I kept returning to these stories and those characters. this owl seems chill as heck and i say good on ‘em, Collection of shorts I've come across on here that I need to check out, because adding them to my watchlist…. . This last item—a wall with a dinginess like the hotel room that starves John Cassavetes and Peter Falk in Elaine May’s Mikey and Nicky (1976)—divides the two Certain Women lovers from each other; at break of day, they don’t want to see the fat paunches that the night kept hidden.
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