The Promise of Life: Joachim Trier and Renate Reinsve on The Worst Person in the World | Interviews

“The Worst Particular person within the World” emulates Julie’s sense of self-discovery by way of this sensual, unfixed sense of fashion. Hallucination sequences, voice-overs, the surface world freezing nonetheless. What shifts did you every need to convey in Julie, and the way did you choose the formal improvements that might replicate that inconsistency?

JT: In a method, that’s a query for each of us, as a result of it’s two-part, I sense. I can speak about my intentions, after which Renate can discuss in regards to the transformation course of. To be fairly trustworthy, my job is to inform the story and give you these formal issues, to set the scene. What I discover actually admirable is how Renate is ready to rework, subtly, as we come to the top. I instructed her early, “I’d love folks to really feel on the finish of the movie like we’ve been by way of an enormous area of a number of years and somebody’s improvement of life.” And the way Renate does that’s nonetheless a thriller to me, but it surely appears to be working for everybody that sees the movie, which is unimaginable. There’s an ideal hair and make-up division and garments, however there’s one thing intuitively good about how she offers with the bodily look, the actions, and the emotional awakening of a personality over so a few years, when it’s not shot chronologically. 

Type, although, is one thing that Eskil Vogt, myself, and the editor Olivier Bugge Coutté are very involved with. We come from being followers of “Hiroshima Mon Amour,” the French New Wave, Nicolas Roeg’s “Don’t Look Now,” all these movies which are attempting to speak about how time and reminiscence might be handled, in cinema, in a method distinctive from all different artwork types. We will minimize round and time-layer. You additionally see it in Bergman otherwise, how he makes dream sequences and the fantastical out of the blue seem in the course of movies which are typically fairly tough and actual and human and uncooked. To create movies the place there’s each that sense of naturalism and look of identification from the viewers, then tweaking that right into a mushroom journey or an almost-musical sequence of operating round Oslo when Julie freezes time, it liberates the viewers to have a much bigger thematic scope to really feel the movie in—fairly than only a kitchen-sink drama with two folks speaking on a regular basis. Actually, there are lengthy dialogue scenes on this movie, and I’m very happy with them. However the dynamic between intimacy and the larger scope of playful movie-making is what I’m interested by.

RR: After I learn the script, I felt like each scene contained a lot. It was so wealthy, so filled with complexity. With the mushroom journey and going backwards and forwards in time, you bought a way that you simply’d been all over the place: in time and area, and likewise emotionally, with all of the characters. I used to be actually petrified of not getting all these nuances, and never having within the efficiency all the main points that I felt have been within the script. 

We talked about that very early, how her physique language ought to replicate her way of thinking. Julie goes by way of a journey of being very stressed, not with the ability to resolve on something, not realizing what to do in life or who to be with, and never with the ability to settle for herself. After which she is pressured to have a look at herself, and she or he goes by way of the lack of somebody, and the lack of the picture she had of herself. In the long run, you see her truly discovering peace and acceptance in being herself.