15. Nothing To Hide
Now, certainly Taye is feeling here but.. uh.. in my sense,
this kind of totalitarian system, fascistic system, encourages any
behavior that is advantageous to it's continuance. Whether
it actually fits in 100% with the doctrine or not, and they
discourage anything whether it's inline with the doctrine or not.
Notice he says "relationship with a female". Some people
question how in the world, without feeling, anybody could
propagate. I didn't bother addressing this in the film, maybe I should
have, but I didn't bother addressing it because even in our
contemporary reality there's plenty of procreation that goes on
in-vitro, without actual physical contact, and I just assumed the
audience would make that assumption.
To me the whole concept of the family in this film is
strictly residual. There was some dialogue at one time earlier in the
film that made it clear that they were really sort of on the cusp of
this society, that it had only been around since about the time
Christian had been born, or Preston had been born. And you
know much like we wear ties, like he's wearing there in that shot
there, is the residual from the customary bibs we use to wear in
medieval times. Yet we don't know why we wear this silly
flap of fabric around our um.. neck, yet we do, do it. And
there's plenty of things we say, and gestures we make that we've long
since forgotten the reason why we do them. At any case to me in
this movie the family, which they would ultimately get rid of
eventually in this film, in this other society, but you can't do
everything at once. You can't spring everything at once on human
beings, it was strictly residual arrangement, that they were in the
process of getting rid of. I think that in an earlier draft of the
script actually, I even had someone remarking on the, you know the
program of communization that was being launched....
gets dragged off)
The other thing I think to keep in mind
about this film is that it is, it was never meant on any level for me,
to be taken, or for the audience, to take it literally. It was never
meant as a chilling vision of the future that could possibly happen.
This film was always a parable and a fairy tale, and it
really just remains whether you want to be told that parable or that
between Preston & Dupont)
All actors are different. They
all have the take that they hit.
This car? Clearly a slightly modified Cadillac. This falls
in line with the titles in the front of the film. I mean, I could
have made the decision to make a flying car or something like that but
it really wouldn't have furthered the story so I made the decision
to do the cheapest thing I possibly could, and that was the
Cadillac. The irony is though that in Europe you cannot find large size
sedans except for Mercedes and BMW and those were, I thought too
obvious. So it was only after looking very hard that we found 2 used
that we could buy very cheaply in Germany, and uh.. disguise.
heads for the bathroom to recover his hidden doses)
Very hard shot to get there,
without seeing the steady-cam operator in the mirror, behind him. It
was hard shooting on this set because 3 of the walls flew and because
we had a very limited amount of time obviously to shoot.
It was a very complex mathematical algorithm
to figure out what order to roll these, fly these walls out in order to
shoot the scenes properly and also in continuity with what the
character was going through.