Talk

Rob Epstein & Jefferey Friedman by Jaiden Jeremy James



Howl is an interesting piece of cinema, what was in that interested you primarily in creating that focused on different aspects of Ginsberg’s life such as the trial, his life and the poem?

Rob Epstien- Jeffery was probably more familiar with it then I was but we was certainly familiar with the poems importance and some sense of its significance culturally and as literature but then it became this explorative investigation journey to figure out why it was so important and what to say about it and that led us to really getting to know Allen Ginsberg as an artist and as a person

Jeffery- And also this moment in the culture when this group of writers created this literary moment and movement, that actually developed a new way of creating art it had impact on the culture it was so much a part of the beginning of the counter culture, the sexual liberation of the 60’s , Allen coming out, it was a huge part of him bringing up his creative voice and its only something we realised once we started to look into it

The Film was an education much like your documentary work is, as this is not the 1st time you explored reality in people and happenings, seeing as your previous work is usually more factual was the transition to drama hard?

Rob- It was a good transition for us as we used all of our documentary instincts in creating the script for this film, so it’s all based on not documentary material but existing texts and interviews and the interview itself being the main way of which Allen played by James Franco tells the story that he’s doing it in the format of an interview is how we approach our documentary work and how you can really capture a person soul in an interview we wanted to do that in a drama and that was in a way informed by our Documentary background.

Is that also why you used real life footage?

Rob- Yeah we used real life footage kind of like as spikes to both mix it up and to give references
Was it hard to find that footage?

Jeffery- we had a really good researcher, the Ginsberg estate was really helpful and Allen himself had a treasure trove of photographs that he himself had taken


Rob- The documentary aspect is actually really important which i am not sure audience realise as its not identified but the photos of the real Ginsberg at 29, you can see how close James actually looked like Allen

Howl was mainly shot in NYC, what were both the pressures of shooting there and with James Franco on such a tight schedule?

R-Working in NYC was a blessing as we had the best crew possible and NYC is really helpful with movies

J- We also had a crew that actually had strong visual references with such things like counter culture

R- and Franco was based in NYC a lot during in shooting so it made it easier
Allen Ginsberg was also a photographer and in some scenes you directly reference those pictures sometimes recreating the scene within them was there a reason for doing so?

R- I think that was our instinct as documentary film makers, to source material and also that film was also a chamber piece so there are very few scenes so we had a limited opportunity for us to set the world and get a sense of how it was in 1955-57, so they way we were able to do that is to set the details of what you see in the frame, so for instance the set of Allen’s apartment the texture, the wallpaper all of those little details help create the time

The animated scenes are specifically for the poem by doing so, you created a visual poem, was there a reason for this opposed to having an actor act it out or the scenes enacted?

R- We were looking for ways to visualise the poem with the movie to create a visual cinematic experience, we tried a couple of experiments to see how it would work such as archive footage played against the reading of the poem and live action footage, but once we played it against animation we liked what we were seeing and the effect.

J- and there was direct connection between Allen and Eric( the animator) as they collaborated on a book of poems

There was Homosexual activity in the film yet it was more of a backdrop to the overall film, but I like how you included this aspect of Ginsberg’s life was there any pressure to not include this to make the film more commercially viable?

R- No there wasn’t pressure in neither direction; we actually did an early reading of the script, a stage reading just to see if the concept would work and a friend at that reading felt that the strong homo-erotic elements of what was going on with these guys wasn’t coming through and that was really good note as it led us to try and figure out how to bring that forth more and then we realised that it was right in front of us in Allen’s story, so then we looked for ways to create and bring this forth in those flash back scenes, one for example with Neal Cassady and where his wife walks in on them having sex was a real story.

Do you think Homosexuality is finally being accepted in Hollywood as with films like Milk, The Kids are alright and of course Brokeback Mountain, all critical and financial successes which has allowed straight characters to step into the role of a gay person which many would have shied away from not too long ago?



Gus van Sant is the patron saint of movies with homo-erotic themes and has long been a champion of equality and gay rights, as you both are yourselves, how did he get involved with helping to produce Howl?

R- Well Gus is someone we both have been friends and have known for a long time and he was in San Francisco shooting Milk and I have a connection with Milk, my friend made the film ‘The Times of Harvey Milk’, Gus read the screenplay and really liked it and so we asked him to become an executive producer,

J- To help us you know navigate this world that we hadn’t really experienced of casting directors, approaching agents, getting talent and all that, he suggested James and got the script to him so he was a huge contribution

What films do you feel help open the doors to obtaining gay rights?

R- Different films for different junctures, I think Brokeback Mountain was really watershed, I mean if you could really talk about the film industry before and after there is a change

What Young directors do you admire right now?

R-Hmm your putting us on the spot I mean we see a lot of interesting work across the film festivals but how about you( jaiden)?

Jaiden-I really like Xavier Dolan, he made a film ‘ I killed my mother’

J- O yeah I really want to see that i’ve been hearing such good things about it

You’ve been working as a duo for many years now, could you explain the process of writing, directing and working on different projects together?

R- it’s hard to explain as there isn’t any kind of formulae and that’s probably why it works, the writing process is usually a lot of back and forth and at certain points just sitting down and working on stuff together and at certain points just going away and doing your own thinking individually and bring your own thoughts to the table for discussion

Could you tell me the ethos of your film company Telling Pictures?

R- the ethos that’s a really good question, I think we look for projects we have some connection to and that have something to say and occasionally we do projects to pay the rent occasionally as those projects don’t come often enough (laughs), I believe that you have to really feel something for the material otherwise it wouldn’t be fun to do.

How do you feel about how film industry relies on  the digital mediums such as things like blogs, as I know you have one and youtube?

J-I mean it’s the way the world is evolving becoming more connected in different ways and disconnected in different ways, the media and how stories are told

R- I mean if you look at the form of the film, it has that mash up sensibility in which we are all used to now but that's something we really considering in the film making language one that a audience could keep up with

J- The other thing about digitisation is obviously piracy which allows the question of how are artists supposed to make money and live.

I agree as celluloid closet is on youtube

J- It shouldn’t be on youtube,

R- I guess that's the concern as i teach and it seems an entire generation thinks they’ve seen a film if it’s on youtube in 5 different sections and to them that’s seeing the film

Do you feel connected in any way to the new queer wave cinema such as Todd Haynes and Gregg Araki and people from those eras?

Yeah I have tremendous regard for those guys, they are both extremely talented, I mean poison todd’s first feature length that was really inspirational

What other projects are you working on?
R- We are developing a feature but it’s too early to actually talk about




















Gaspard Yurkievich by Micheal Kowalinski



Can you tell me about your childhood and how it influenced you to design?

I was born in Paris and my parents come from Argentina. From my father's side, I'm Jewish, and on my mother's, it's Catholic. They moved to Paris and I was born there, so I feel myself more Parisian than French, with a Latin education. I speak Spanish fluently. My father was a huge fan of film, comedies, and musicals from early Hollywood, so I was very aware and attracted by this when I was young. I was so attracted and inquisitive about the glamour of the actresses.


You say you're more Parisian than French. Is there an attitude, in France, that it's Paris against everyone else? In America, there's a feeling that it's New York vs. everyone else.

It's even more like that in France because France is a small country and everything is centralized in Paris. France can't exist without Paris, after all. I would say that, in America, it isn't as true because many cities are powerful there. The states are relatively independent, but in France, nothing is independent. Everything is linked to Paris, so it's a reality and not just a sensation or attitude. I think Paris is a fantasy, and my work is based on this fantasy, because it's more of a worldwide fantasy than a reality. The fantasy is very strong and I like to work with the French heritage of couture and the fantasy of Parisian elegance that is more like an ideal than a reality.


It's an illusion

Yeah, it's kind of an illusion, but it's based on such a strong belief and it's consistent. It's a consistent fantasy


You must have seen some great illusions when you apprenticed at Jean Paul Gaultier, Jean Colonna and Thierry Mugler. You must have seen that old Hollywood glamour there. What did you learn while you were working with them?

Yeah, but I was very young, so it didn't feel so glamorous. It wasn't my intention to work for a French brand, but it was a job I got after leaving school. I learned many things at Jean Paul Gaulthier. He had a team for everything, for every project. It was amazing. He was really running from one thing to another all the time. In all my experiences I learned a lot of things I didn't want to do. I learned I didn't want the same relationship with a team, like I'd seen at Thierry Mugler, Jean Colonna and at Gaultier.


When you’re young, you might not see that you are so near to great things. So it's all about the team there? He runs a team whereas you wanted to be more independent as a designer.


Yes, at Jean Colonna, everything driven by passion. It was a mixture of real life and professionalism. I was really sure that if I launch something, I would do it more professionally. If you work in this industry full time, it's good to keep a distance, to not mix everything in your life. It seems more human. At Mugler, it was a small experience, as it was a placement. It was during a video shoot for George Michael, so it was huge and very decadent. I was young and I thought I was in the wrong place. I couldn't explain how I was feeling but I was not feeling so excited in this context.


Let’s have some fun. Where do you hang out in Paris?

One of my best friends opened a very fancy place, called Hotel Particulier. It's a luxury bed and breakfast in Montmartre. It has a bar and I love to go there. I love to meet my friends more than going out to a club or a party.


What are the references you always go back to in your mind?

I have a couture and heritage background. In France, we contextualize everything and there is a bigger reflection on the approach of style. The idea when I started was that everything had to be decorative. When I start my ideas, it's based on making a link between the spirit and the body, to intellectualize sex, to really marry sensuality and sophistication on one body. This is what I try to catch every season, every collection.


The Spring/ Summer 2005 menswear show featured dancers moving provocatively and in very sexual ways. It was a bit shocking at the time, and you mention thinking about sex. How does sex inspire you?

For me, it's always linked to the spirit. It's not porn-chic. This doesn't interest me at all. When you see someone very strong, or even delicate, wearing something nude or floaty or sharp, but structured, it's sexy. I try to identify a contrast between a fragility and strength, something sharp with a soft body inside. When I do something graphic it's to underline the body



The clothes are so sensual and youthful. In your Spring/Summer 2011 collection, there was a structured dress with a little ruching on the breasts. It was what you talk about, marrying sensuality with a clever attitude. How did your sensibility come to you?


I think I have followed my vision since I started, since I began working on my philosophy of looking for a link between someone who would express a freedom and a sexuality mixed with something structured and intellectual. I think this comes every season, so I find a way to show this. I find a way to balance those two things, with new elements every season. I don't change my story, my mind or feelings. It's always the same kind of spirit and profile that I'm running after.


Karl Lagerfeld says he gets his best ideas at 5am. When do you find your best ideas?

Oh, I never think about it. I don't work chronologically. I don't know, actually. I wouldn't say it's a specific time. I think it's very funny that he said that because I would say that when you're in a creative mood, it's hard because it takes over your brain. You have to draw, explain and work with your team. This is the most painful process, to have feelings and ideas in your mind. It can be painful to explain them to a team. In my work, I'm looking for a certain ambiguity and sophistication. What I like is something ambiguous. You have to translate everything that's in your brain to your partners, and this is more and more complicated for me. It's so easy for me to design a collection of shoes. I can design one hundred pairs of shoes in one day, it seems. My shoes are made in Korea, and I go there for four days and I come back with a collection of 100 shoes. For the clothes, it takes much more time. It's more complicated. There's a lot of doubt, but at the end it's magical when it becomes real.


What is the energy in Paris right now, for a young designer starting out?

The city is so beautiful and sexy that people can fall asleep in Paris. My problem is not creating, or being inspired. The problem for me is that I'm running a company with ten employees. The energy in France for a small company is very bad, I would say. This is my fight everyday. I don't fight to find an energy or inspiration. I'm fighting everyday with shit things. It's important for a young designer to be fresh and find inspiration in commercialism.


Is there a young designer who you are rooting for?

I really admire and appreciate the performance art and fashions of Cosmic Wonder, who show in Paris. I adore people like this, who have this kind of freedom.


Who styles your shows?

For the menswear show, we do our own styling. For the women, it's Sarah Ellison, from New York. She comes to Paris four days before the show, with a fresh eye. It's funny for me because I'm so into the collection, I’m nervous. She comes with an efficient and consistent eye and sees things I had not seen. However, we always end up with my original vision! I would love to have a stylist involved more in the process itself, in choosing fabrics, but we never seem to find the time or energy to do it. I used to work with Yasmine Eslami. She was here in Paris and at this time she was choosing fabrics with me. Everything is in a state of evolution and every season we try to be better with the styling. The more precise you are, the more tired you are at the end of Fashion Week.


How do the menswear and womenswear influence each other?


They touch each other definitely. My boyfriend designs the menswear. We live together and work together so there is a constant dialogue. Realistically, we are sharing fabrics. Often, we joke that we copy each other. It was hard because we started with womenswear and the idea was to make the menswear with the same philosophies, but without making it like Barbie and Ken. We are so into it now, working with the sophistication a man can have, and of course it's always spiritual.

And very colourful.

Colours are so important. It's textures, colours, and the intensity of the fabric. In the recent FW collection for men, there were not so many colours, just flashes of it. We worked on tailoring and all the pure, traditionally masculine fabrics. We tried to find something more cosmopolitan and funky, but working with a masculine code.

Who is your favourite fashion photographer at the moment?

I have many friends who are fashion photographers. I love Bianca Pilet a lot. I would love to shoot a fashion shoot with Valerie Belin. She did my portrait! She's an amazing artist and it's my dream to shoot with her. I've seen Vanina Sorrenti's book and I think it has a great sensibility; Also, I would go for the classics like Juergen Teller and Inez Van Lamsweerde. I remember when Inez Van Lamsweerde's work was rare and you had to run after V magazine, Visionaire or i-D magazine to see her shoots. It touched me a lot and it's still very strong.




How did the collaboration designing sunglasses for Linda Farrow come about?

They approached us a few seasons ago and at this time we had a deal with another manufacturer of glasses, so we didn't do it. They came back last year and we did it. The history of the brand is interesting. Now Linda Farrow’s son manages it, but at that time, the philosophy of basing glasses only in fashion shops, to make it a fashion accessory, was new. I think the work of her son, following this philosophy and collaborating with designers is smart.

It seems the future is to collaborate with other designers. You collaborated with Eastpak to design backpacks and bags.


Yes, I just finished a second collaboration with Eastpak, which will be shown at my men's show in June. I think it's
the best marriage I made, in terms of co-branding. I'm doing another collaboration with a big label that does shoes and clothes, but I can't say who! It could be huge.



You won the ANDAM award in 1998. It seems the most progressive and talent designers win the ANDAM. I'm thinking of designers like Gareth Pugh and Bruno Pieters. What did winning that award do for you at that time for your career?


It was a long time ago! At that time, it was small money, which was always welcome. Of course, your name is on an amazing list of designers, and everyone is happy to be on this list. The complexity of my company is I have to find my own financial system. I'm not expecting help or anything like this.


Are you a dreamer? What do you dream about at night?

I’m a bad dreamer. I don't have fantasy dreams. I'm a very realistic dreamer, very boring. I dream a lot and I sleep a lot. I think our job is quite complicated so you need to be healthy and to eat and workout. I cook, I eat, I workout. I don't dream so much, unfortunately.

Well, it sounds like it's happening like a dream.

Oh, no, no, no, no. But we're working on it!







Yiorgos Eleftheriades by Micheal Kowalinski

Athens based designer Yiorgos Eleftheriades talks about his Spring 2011 collection, the modern ways of working and showing in Barcelona.




The Spring 2011 collection felt so free.

Yes, I think it was easy with a style. In the summertime, it's important to feel free and comfortable. I have to say that I was very pleased with it because of the balance of creativity and realism. I wanted the clothes to be realistic for our lives, because that is something we need. We made clothes that were a little more complicated but I thought, "No, that is totally out. I want it to be balanced and clear, nothing more." I want to say something that is real and honest. I said to my stylist that I want it to be as clear as it can be. The hair must be simple, and there must be no makeup. Women are feeling fresh and confident and so it must be about the real beauty of a woman. After all, it is about the people in the clothes.


You showed in Barcelona but you have also shown in Athens, where you are based. What was your experience with this show?

Barcelona's standards are very high. There are great models, the best lighting, and many perfect spaces to show. Its standards are like that of a good show in Paris or New York. The audience in Barcelona is an international one. In Athens, it's a little more local, and the shows are more for the Greek press. I like showing there very much, but we hope to grow abroad and on international level. We have a wonderful and successful shop there.


You design both menswear and womenswear. It seems men want something more feminine in their clothes.


The modern man is not so straightforward about his choices. He likes to play and he is ready to put pieces in his wardrobe that do not necessarily resemble menswear in the classic sense. It's an evolution of our times. We are more open, we can try things. It may be because our wardrobes are full of classic things, or things that are really easy to have. Men don't need to prove their masculinity in their clothes anymore. We are not afraid!

Yes, the clothes are progressive but have a hint of classicism. How do you manage the balance between a classic feeling and the new silhouettes?

I always want to work with new shapes. For me, the main idea for my work is an alternative classicism. This is the way that I feel. I don't think this is the right way and the other ways are the wrong ones. You have to express your feelings. For me, classic isn't the things we have seen already. Classic clothes are timeless and will always be around. I have noticed the men looking at, for example, the women's blouses that do not have buttons. We are more open and we can try things. Fashions, and people’s attitudes, have become more democratic.


What is your working method?

For the last six years, I feel more relaxed working with my team. At every step, we have conversations, we make the samples, and we are open to new ideas. It's important to feel part of a team. We are doing four collections a year. It's important to know what you want and what your team thinks.

It's important to find people who love it as much you do. Is that right?

You have to work with people who like to be with you and who find something personal in the work for them. The heart of the business is teamwork. It's important that they feel like they are working on their own project and not just under your command. I think this is the modern way of working.


Fashion now is instant. Readers and buyers can know and see everything right away. Do you find this makes it more difficult to be modern?

The most important thing is to have a clear feeling, to know that you want to move in a certain direction because it's the right moment. Everything is around us but we cannot only think of that or what others have done. I feel that, especially in the last year, my work is clear.


Tell me about the leather in this collection. You are always using the lightest fabrics.

It's super fine leather, like a silk. I come from Greece, where it is really hot, and so for us leather is better for the winter. In order to wear it in the summer, it must be light and easy. Egyptian cotton is one of my favourites and it is the best in the world. For the last four seasons, we've been using silk georgette. To be honest, I am not such a fan of linen!







The twins Victor & Alex Carril, talk about their plans for the future and what forms of culture they like and of course Give Me Your Hand By Jaiden James 



You both worked with Pascal before on Baby Shark was there any main difference between that time and this one?



For the short film it was like an urban environment, for the first film we didn’t really know Pascal and for the second we was kind of close and it was more like a family vibe, in the short we was 18 and had no hair and now we are now 19 with hair (laughs) the second film was more in-depth and more like an adventure.

The Film is about self discovery and finding oneself and each others differences, do you know the main distinctions between each other?

The Big difference is hard to talk about , the main difference between us, the best person to ask is Pascal.

Pascal- The film is very inspired by who they are so its like a photograph of who they were in 2008, I was quite scared of doing that as I didn’t want to harm them and also because of the sex scenes but they were brave enough to do that. Both Victor and Alex are very close to who they are on film.




How do you feel the relationship portrayed in the film relates to your own? 

In the film there is this duality aspects, it shows a very direct way of how we resolve our conflicts, also in the film one of has something that the other can never have like the experience with the guy that’s something he can’t share with me. Stuff like that happens quite a lot vice versa where one of us may have something the other doesn’t yet wants.


What is your take on French cinema any actors/ directors you would like to work with?

For a long time we haven’t seen a French film that we have really enjoyed , I feel French cinema is very bourgeois, there was a period that it used to be free and creative but now it goes in the other direction afraid of every subject. Other than Pascal it’s hard to find a French director I admire. There is Gondry but he is working on a more international level now. But many directors always do the same kind of things alienating very intellectual. For example in France a TV series like Skins could never happen, they just don’t feel free enough to do so. In French cinema if want to do something interesting you have to go somewhere else but saying that Jacques Audiard who did A Prophet is another French director we would like to work with


Pascal- French TV did try something like Skins but it was terrible, really awful, it was skins without the essence, no sex or drugs.

What About on an international level?

We are probably inspired by more by directors with vision like British or even some Americans, Gus Van Sant is someone

What projects are next?


The thing is when you’re an actor you always need to sell yourself, attend auditions after auditions, tapes after tapes and we are actually involved in other creative forms such as video, photo, fashion design, we were recently involved in a dance project and At the moment I am launching a fashion label with two others


Are there any contemporary designers you admire?

Alexander McQueen, Gareth Pugh, Ann Demeulemeester


How about Balenciaga?

I feel like it’s a big cliché with this futurism thing, it lacks humanism

I am guessing your interested in fashion?

I like to know what’s going on, but I am more interested in contemporary art opposed to being a fashion purist

Do you like any English designers?

France is shit, I feel England is where fashion is

Do You both work on the label? 

We help each other in all are creative projects and as its design its linked to our artist collective

Do you admire any contemporary artists? 


Matthew Barney as he is very free in what he does and he does a bit of everything, also Richard Seirraa big fan of his work, We like to imagine our future as working on separate entities but both us linking up via them






Pascal Alex Vincent on his work and his latest film Give me your Hand by Jaiden James





At the beginning of the film theres animation and throughout you have one of the twins drawing, is this homage in anyway to your love of Japanese cinema more specifically Anime?



Actually there is two reasons for that, before becoming a director I worked for many years in a movie distribution company based in Paris and they dealt with a lot of Japanese films, I was a movie scout in Japan and I learnt the language and so I am quite used to Japanese pop culture and Japanese films such as anime. The main reason was really linked to the project itself. I wanted to open the film with animated feature in order to disconnect the film from reality or realism, if you see any other French films that deal with twins you can expect it to have a lot of dialogue in it and a huge explanation. I wanted to say that its not going to be an essay about being a twin or full of psychology, it’s mostly going to be visual, like in a way a fantasy film where anything can happen.




I compared Give Me Your Hand to Bertolucci’s Dreamer’s mainly because the twins in both your’s and his film have an intense relationship with underlying sexual, incestuous energy

Actually I have to say that Dreamers was a Total flop in France and stayed only one week in the cinema, so I am sorry to say I haven’t seen it, of course I’ve heard about it due to the high profile actors and of course because it’s Bertolucci, but the press hated it and so did the viewers



With the minimal dialogue you allow the imagery to become more important than words, which is something Gus Van Sant does, I know prior you said the films that inspired Gus inspired you rather than directly being inspired by Van Sant. Were the films that inspired you with minimal dialogue? 

Absolutely those two films Two Lane Blacktop & Hired Hand are without dialogue they are those kind of road movies that came out in the 70’s and are metaphysical, its not where you go but who you are traveling with the road being viewed as an experience. Easy Rider directed by Dennis Hopper is the most famous film of that kind as you don't have much speech . It's just being on the road with someone and the trip in itself is the most important thing. I’ve met the directors of both and seen them many many times and was inspired by them even down to the cinematography which is quite grainy. Give Me Your Hand was shot with a 16 MM, I really consider it as a film from the 70’s


In regards to the cinematography are you aware of the artists Ryan Mcginley’s work,

Yes, he is an artist I like and in a way yes Give Me Your has a lot of references in it.


There is an image within the film that just reminded me of his work with the brothers leaving the ranch and the wind blowing in their hair much like his image with the girl in back of the truck drinking from a cup, his work especially in that period was inspired by the 70‘s to and road trips, about finding oneself in places you don‘t know?

Sometimes you put in your film things that you not aware of McGinley could be one, but Bertolucci’s reference is not a good one. Actually the film was inspired by the twins, we was living in the same neighborhood in Paris, I was used to seeing them fighting all the time, I mean everyone in the neighborhood knows about their fights, like fighting all the time for ages. Their fights in real life are a lot more violent than what was portrayed in the film. So I was thinking about doing a film on family and sibling rivalry and what makes you different from your brothers and sisters. I mean everyday for years I used to see Alex & Victor fighting on the street, so I wanted to make a film about that, so I went to them and asked them to interview them and after hours of interviews with my co-writer, we wrote Give Me Your Hand. I was also aware of the fact their not actors so I had to be careful with that so that is another reason for the minimal dialogue.

That takes me back to the previous topic another reference point is when the two guys are frolicking in the sea just before they have sex, it reminds me of a McGinley once again. 


Hmm maybe I mean its full of references but you know I have an eye of my own


Of course,



The Film was filmed chronologically, in something like 4 weeks whilst the animated sequence took around nine months, I mean there was times we were driving and then stopped the car did a scene and then carried on the journey, Of course I was scared that both Alex & Victor would be afraid of the film including the nudity, but was surprised when I read the script to them that their main concern was that one of the two had to be on the set more. As you know the character Quentin disappears after an hour so and that was an issue with Victor that Alex was better treated and had an extra week of shooting. We had Victor stay on the set whilst filming, helping to relax his brother.





The reason from disconnecting the characters from the past with the only clue to it at the beginning when one of the twins is in the bakery, I assume it’s a bakery due to the open light spacious windows. Is this because the film is about who they will become and where they are going rather than who they were and where they are from?




Actually where they come from and where go they to and the real reason why they are on the road I wasn’t very interested in that, the reason why it started in a bakery is I wanted people to understand that they aren’t wealthy and the reason why they jump trains and work on a farm to get some money is to show that connection that they aren’t ritch.



Also I am guessing it was set in the 70’s but there was no dominate indication of the time frame such as clothing or attitudes, except for the vintage 70’s cars, which possibly helped define a time.


I was barely born at that time but I fantasize about the 70’s a lot as it was a time of freedom, it was a period where sex wasn’t dangerous nor was travelling alone, it’s a period I love. I liked that apartments were open and you could go and hang out and have tea and stuff. So even though the film was shot now it’s really close to the spirit of the 70’s, where you didn’t have to have a set purpose for the trip or yourself . The trip was about a voyage of self discovery. Sexuality was also less complicated then as well, the 70’s was the golden age, the period where sexual liberation had come yet AIDS hadn’t.



Nature was also featured a lot as the film was predominately shot outside

I wanted nature to be it’s own character and I was able to do that as I myself come from a very rural background and know nature myself, I wanted to really be in the spirit of that when we shot the film we worked with nature