Was it much more expensive and what kind of decision was that to go with film rather than DV?
Pete and I never really talked about video. We talked about shooting it on Super 8, but we never really had the video conversation. We're both such film people and really love the look of film. Especially if you're going to be shooting in the forest and shooting outside of cars with so much movement, that sort of stutter that video still seems to have sometimes didn't seem quite right.
Plus, I guess, the whole idea of applying Old Joy to anything but film... And Pete had this little A Minima camera, you know, which is a Super 16mm camera that most, bigger films would just use to shoot the car interiors, and it takes only 200ft loads. It's a really small, manageable camera. So the idea, for Pete, was that he was going to get to use that camera for the whole movie, which was an idea he was really interested in. We never really thought about video.
Well, film also captures the quality of light very differently than video does, and I can really feel the Pacific Northwest light.
When you're just shooting after that rain, you really get the payoff of the incredible light. And it's true. Film just has more depth to it.
I don't want to make too much of this other aspect that I wanted to bring up, but there's a portrait of a different type of masculine identity and male relationships, you know, that I find very real and very honest and full of a lot of little edges, and it's one that you don't see in films very often. Mostly we see men giving their perspective on male relationships. Do you think coming at it as a woman brings you a different kind of perspective on it?
I just don't think men are that complex. [Laughs] I mean, I think of it more as, I had a real curiosity when Todd first moved out to Portland. The conversations about the men he was meeting out there and his friends, I would always be asking... You know, in New York, I can always figure out who's straight and who's gay and I get out to Portland and it's much more vague. And then you're not even supposed to ask because that's so East Coast. You just love the one you're with, which, at the end of the day, I'm like, "That's bullshit." Really, you're just going to love the one you're with?
But I do think that there is more of an openness in male relationships out there, and even physically open, than I experienced with male friends on the East Coast. I guess I was always talking about the film in terms of a new age western where, instead of the classic "I'm tougher than you" battle, which is also always homoerotic anyway, that, in this case, it was really a battle of, "I'm more open than you are," which seemed more fitting for Portland. So that's sort of what I was getting at. But I relate to both those characters even though they're men and I feel like I've know those men. I still, myself, feel like it's much more difficult making films about women than it is about men.
We're in a culture where we're really used to seeing men make films about women, but not too often women making films about men, and maybe that's part of what I find refreshing. Because you do get past the clichés that men tend to have when they make relationship films. It's a different type of masculinity that is being shown but, then again, it may not be the difference between men as it is that you're just getting something that's very honest about people.
Yeah, I don't know. I mean, it's a limited everybody that gets depicted in films. Let's face it. I mean, everybody seems to get paired down to something more familiar from movies, necessarily, than life.
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