DID YOU READ

Separating fact and fiction with “A Separation” director Asghar Farhadi

MCDNAAN EC015

Posted by on

As I was packing up my briefcase after our interview, director Asghar Farhadi made one request through his interpreter, Sheida Dayani: quote his words precisely. He’d been misquoted before, he told me, and he didn’t want it to happen again.

This struck me as an interesting request, since Farhadi’s superb film, the Spirit Award and Golden Globe nominated “A Separation,” is all about misinterpretation. It begins with an Iranian couple, Nader (Peyman Maadi) and Simin (Leila Hatami), as they try to get a divorce, then follows their family as they deal with that decision’s fallout. Without his wife at home, Nader is forced to hire a caretaker to look after his bedridden father; later, the caretaker leaves the father unattended, and there is an accident. The case ultimately goes to court, where it becomes a matter of he-said, she-said. Both sides present wildly different interpretations of the events. It’s up to a judge to determine who is right and wrong; from the perspective of the audience, it’s already clear the answer isn’t so black and white.

That’s exactly how Farhadi wants it. “You can make a film in a way that when the audience leaves the theater they leave with certain answers in their head,” he told me. “But when you leave them with answers you interrupt the process of thinking. If instead you raise questions about the themes and the story, this means that the audience is on its way to start thinking. I like that better.”

Hopefully this interview, about Farhadi’s process, his love of writing, and even his initial dissatisfaction with his film’s English language title, will give you plenty to think about as well. Hopefully I’ve transcribed his words correctly, too.

When you’re writing, what comes to you first: the characters or the story?

The two are really inseparable. They move together, both story and character. For me, character comes from a specific condition or situation. I cannot really define a character outside that situation.

How has the reception of the film in Iran compared to its reception abroad?

The responses have been very similar inside and outside Iran. I don’t mean that everyone has the same reaction; but the diversity of questions that are raised outside Iran and the diversity of questions that are raised inside Iran are very similar.

Your daughter plays Nader and Simin’s daughter in the film. Was that your idea or her idea?

[laughs] She wanted to act, and I also wanted to make a film that she could act in. So it was both.

Did you like directing her?

I liked it a lot but there were also times that were difficult. Because she was my daughter, I allowed myself to be tougher on her. Sometimes there were people who said that I was really being tough on her. But with all the complications, we’re both satisfied with the collaboration.

Does she want to be an actress when she grows up? And would you encourage her to pursue acting as a career? I guess you’ve already been pretty encouraging.

I think she would like to continue acting but she’d also like to try writing as well. She played her first film when she was three years old. This is her fourth film.

Many of the early scenes in the film — casual conversations or small bits of information — seem unimportant, but they come up again in later scenes, and we’re left trying to remember them. How did you approach these key moments? They need to be simultaneously memorable and unmemorable.

We have the wrong impression of life. We think the very big incidents of our lives are consequences of huge dilemmas or major decisions. If we paid attention, we’d realize that the determining incidents in our lives are ordinary things. When I write or I shoot these details, I do so in a way that makes them seem very simple, like ordinary details of everyday life. I don’t want the audience to think they’re watching an “important” scene and to try to remember it as a result. This whole game of making the audience go back and remember these simple little details makes them more engaged in the film.

How difficult was it to place all of these “ordinary details” into the screenplay — and to balance things so that all of the characters are equally conflicted and compromised?

It’s a very difficult thing. What I needed to be aware of was the timing; this kind of film cannot work at a fast pace. These details are like part of a crossword puzzle — every corner is related to the other corner.

At this point in your career, what’s the most challenging part about shooting a film in Iran?

This is very difficult for me to answer because I was born there, I grew up there, and I became part of the system, so when I’m working, I’m not consciously thinking about what is more or less difficult. Perhaps if a filmmaker came from the United States and started making films in Iran, they would be more aware of the obstacles. But for me, someone who’s part of the system, it’s not very clear.

I’m sure when you travel with the film, people want to talk to you about the ending. When they ask about it, how do you answer?

I have never given a clear answer to the question; I always try to be evasive about it. I try to let it pass with some humor, or to give some non-specific answers. That’s true not just about the ending, but about all questions raised in interviews. I try not to be very specific about anything in the film. It’s wrong for a director to reveal all the things he was trying to hide in the film. That’s why I’ve always said that giving interviews about the film is usually more difficult than making the film.

[laughs] I’m sorry about that.

No, no. That’s our job.

You’ve received several awards and nominations already. What do you make of the whole Oscar race?

It makes me very happy that regular people are getting to see the film. But I’m also aware that success can bring danger. The success of one film may convince the filmmaker to try repeat his successes and get into a competition with himself. One cannot dwell on periodic successes. You have to look at it as a temporary, passing thing.

Do you have your next film already planned? Based on what you’re saying, it sounds like you’re going to make something very different from “A Separation.”


Yeah. One way to get away from all this hype is to start concentrating on my next film right away. My mind is more involved with my next project than what’s happening with this film.

Do you have a favorite part of the filmmaking process? Obviously not the interviews — we’ve established that.

Writing. For me nothing is more enjoyable thank thinking about a creating a story. Writing is like being in a world where everything belongs to you. You have full power over the characters to create whatever you want.

Does the actual shooting of the film ever get frustrating when it doesn’t quite live up to your imagination for some reason?

Sometimes it happens. When you’re writing, you have full control over everything. But when you try to bring that to action, you run into certain constraints. Not everything comes out the way you imagined.

The original title of the film was “Jodaeiye Nader az Simin.” Nader and Simin are the characters — what does the word “jodaeiye” mean? Is that “separation?”

It’s not just “separation.” It kind of gets lost in translation. You can look at it as “divorce” or as “detachment” or “chasm.”

So how do you like the English language title, then?

At first, I didn’t really like it. It seemed to me that the original title had been distorted somehow, and I wasn’t happy about that. But experience has proven that it’s a good title.

“A Separation” is now playing in New York and Los Angeles. For a full list of playdates, go to SonyClassics.com.

Watch More
JaniceAndJeffrey_102_MPX-1920×1080

Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

Posted by on

She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

JaniceAndJeffrey_106_MPX-1920x1080

IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

Watch More
IFC-Die-Hard-Dads

Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

Posted by on
Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

Watch More
IFC-revenge-of-the-nerds-group

Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

Posted by on
Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

geowash_flat

Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

Watch More
Powered by ZergNet