Movies

Lynne Ramsay makes movies like no one else. She promises it won’t be 8 years before the next one

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As a film critic, I find myself still grappling with the impactful cinematic journeys crafted by the talented Lynne Ramsay, long after I’ve left the screening room. Her films seem to etch themselves deep into my memory, leaving an indelible mark. It could be her masterfully crafted soundscapes or the captivating environments she paints, as seen in her gritty debut “Ratcatcher” from 1999 or the exuberant post-breakup road trip of “Morvern Callar.”

At times, Ramsay delves into the personal and raw nature of violence, such as with her powerful films “We Need to Talk About Kevin” in 2011, a chilling exploration of a mother coping with the aftermath of her son’s school shooting, and “You Were Never Really Here” from 2017, an intense tale of revenge ignited by a kidnapping. Each story unfolds like a tightly wound spring, ready to unleash its force upon the viewer.

It’s beneficial that we recall these films vividly as Ramsay’s work has not always been consistent. Unfortunately, she’s faced some setbacks with film remakes and unpredictable producers, most notably on the projects “The Lovely Bones” and “Jane Got a Gun,” which consumed significant amounts of time.

Today, Ramsay is comfortably seated in a peaceful garden of a hotel in Cannes, basking in the sunshine and enjoying her coffee. Moments ago, news broke that Mubi, a rising distributor who previously released “The Substance” for $24 million last year, has acquired her latest film, “Die, My Love,” a gripping marital psychodrama featuring an exceptional performance by Jennifer Lawrence, which is set to hit the screens soon.

The recent developments are quite exhilarating for a director who ignites loyalty not just from film critics and stars like Tilda Swinton and Joaquin Phoenix, but also from upcoming filmmakers. These young artists find her work as a rebellious, punk-like blueprint, particularly empowering for women in creative leadership roles. We had the chance to chat with Ramsay, aged 55, about her methods and the creation of “Die, My Love.

I was very happy to hear you had a film at Cannes. It’s such a rare thing.

Hopefully less rare now.

Allow me to be straightforward, and I trust it’s taken in the best possible way: Have you ever felt, in retrospect, that you could have produced more movies up to this point?

Indeed, there was a project I had almost started working on titled “Stone Mattress,” which is a short story in a novella form, derived from Margaret Atwood’s novel. We were planning to start production soon, but the producers had suggested Iceland as the location despite it being intended for the Arctic. I preferred Greenland, as it seemed we would be trimming down the narrative with actors like Julianne Moore having to perform multiple scenes in different locations, including long flights between them.

I simply don’t operate that way. Breaking it down into parts doesn’t work for me, and it’s not ideal for the actors either. I began to think that perhaps this isn’t the best approach. Then I considered if I should have tackled it all at once instead. However, I’ve already penned quite a bit. At present, I have three scripts: one is fully completed, another is nearly done, and the third is still being developed.

It seems that folks are curious about your perspective: Are you known for being rigid in your decisions, or do you have very high standards?

As I discussed with my buddy, Jonathan Glazer, people often ask him, “Why isn’t he more prolific with his filmmaking?

As a dedicated film enthusiast, I’ve had quite a long wait since I last saw “Under the Skin” and “The Zone of Interest”. Now, it seems we’re in for another decade-long hiatus before his next work graces our screens.

It’s uncertain whether he will proceed, as we were discussing our shared awareness of time slipping away. We need to move faster due to advancing age. [Laughs] However, it’s not a deliberate choice; life circumstances simply take precedence. I have a daughter and COVID has added complications. Projects sometimes come close to materializing but then fall through. The entertainment industry is demanding, so I tend to be selective. If I commit to a project for several years, I want to ensure it’s worthwhile and not find myself regretting the decision later on.

It’s certainly thrilling when someone as renowned as Jennifer Lawrence contacts you about a movie you produced two decades ago, such as “Ratcatcher.

Initially, her proposition to collaborate with her struck me as amusing. She mentioned the book “Die My Love” by Ariana Harwicz, but I had recently completed another project, so I wasn’t keen on delving into more postpartum-themed works, like “Kevin.” After that, I might have been engrossed in “Stone Mattress,” and perhaps I was a bit unresponsive for quite some time.

Then, I thought to myself, Alright, I’ve got a concept. If it’s a passionate, unconventional love story with multiple dimensions, I’ll give it a shot as an experiment. Let’s see how it unfolds, and that’s exactly what happened.

A postpartum story isn’t the whole picture. Neither is a love story.

Right. I suppose it’s a bit of a lot of things.

Are you planning on continuing with your blend of genre styles, and if so, would a horror movie be part of that plan as you’ve mentioned before?

I’m making a vampire movie.

Really?

Indeed, I don’t have a lot of information to share at the moment. The project is associated with actor Ezra Miller, known for his role in “Kevin.” In this upcoming production, he plays the principal character. Currently, it’s still under development.

I feel like I may be waiting a while to see that one.

The speaker doesn’t have enough time to wait for 10 years. They need to complete it sooner than that, as suggested by Jon Glazer, one of their favorite filmmakers, along with PTA.)

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Ari Aster’s latest film, titled “Eddington,” emerged as a product of his concerns during the COVID-19 lockdown. He expresses apprehension that truth and democratic values are deteriorating.

How does it feel being at Cannes again?

This time around, I’m finding myself quite calm. In contrast, my initial visit left me feeling rather tense. You know how these situations can make you feel on edge. My husband, who used to be a musician, recalled my grip during the performance at “Kevin” was so tight that he jokingly said, “You’re going to shatter my guitar hand.” The audience at Cannes is quite intense – they’re known for being quite demanding.

Now, I find myself quite at ease as I’m fond of the movie myself. At times, you can be quite harsh on yourself. While watching it in that grand theater, I found myself thinking: This needs adjusting, this needs adjusting. However, we’ve only been working on it for four to five months, which isn’t a long time in the grand scheme of things. So, there’s still room for fine-tuning. I managed to mix it in just five days.

When collaborating with talented performers like Robert Pattinson and Jennifer Lawrence, their well-known images can be quite overwhelming. How do you manage to set aside these established personas and say, “I have a specific project I want to achieve here?

It’s clear that everyone was eager to take part and showed a great deal of trust in me. To foster this trust, I immersed them right away into challenging situations. On the very first day, we filmed an intimate scene, which was risky but I felt it could either be brilliant or a total disaster. However, there seemed to be a strong connection between the actors, and on their arrival, I encouraged them to dance together, creating a synchronized performance. This not only lightened the mood but also helped Robert, who initially appeared apprehensive, feel more comfortable.

Doing a sex scene on the first day will break the ice, I imagine.

Initially, I felt apprehensive – oh, my goodness, was this a wise move? Yet, it turned out to be a sound decision. On some occasions, I’ve deferred such moments for later, only to find the tension escalating. People start fretting and overanalyzing these situations. So, I plunged them right into the deep end instead.

Later on, a longer sequence unfolded, filled with extensive dialogue. We had limited time, roughly an hour-and-a-half left as the light began to fade. I spotted the Director of Photography, Seamus McGarvey, resting in the grass. Looking at each other, we shared a mutual understanding: It seemed impossible that we could complete this scene within the remaining time or under the current conditions.

As a film enthusiast, sprawled on the lush grass, I glanced over at my companion and mused aloud, “Why not shoot this scene as if we’re cats blending with the grass around us?” With a bolt of energy, I dashed back to the puzzled actors and declared, “Alright, let’s revamp everything! No dialogue needed. You two are now our feline counterparts.” Needless to say, they looked quite bewildered.

You just discovered that in the moment?

Absolutely! The lack of time worked to our advantage and I’m really pleased with the outcome. There was an incredible level of trust among us. Robert expressed his approval saying, “That was a well-executed scene.” To which Jen replied, “I can visualize it perfectly.” Everything moved at an incredibly fast pace. We managed to capture it in less than an hour, if my recollection serves me right.

Moreover, they’ll have an encounter that no one else would get from a director who strictly adheres to a predefined blueprint.

Indeed, a movie is a movie, and a script is a script – each has its unique nature. It’s crucial to adapt and discard elements if necessary when time or effectiveness is an issue. Often, improvising can lead to something superior. However, on that first day, I could sense the team’s unease, thinking, “Oh dear, what have we gotten ourselves into?

I’ve heard that Jennifer Lawrence was pregnant in real life at the time.

Four weeks prior to [the shoot], I wasn’t aware of it beforehand. I believe she had some apprehensions about sharing this with me. When I asked her, “Are you alright with this?”, I was concerned. However, she seemed radiant and eager to embody the craziness. Her enthusiasm for the concepts was palpable. She replied, “Absolutely, let’s go for it.” Indeed, she’s quite rebellious, my friend.

Your perspective on America intrigues me greatly. It seems less grounded in everyday reality and more like a heightened portrayal, perhaps from a vantage point outside its borders. I’m curious about your thoughts regarding contemporary America – what are your current views?

Although I wouldn’t prefer living there at the moment, America has always held a special place in my heart. During the production of “You Were Never Really Here” and “Kevin,” I resided in New York for quite some time. New York has always captivated me due to its electrifying, unpredictable vibe. Los Angeles, on the other hand, poses a greater challenge for me; it’s reminiscent of “Mulholland Drive.” Nevertheless, it possesses a unique charm, with its stunning light being particularly noteworthy.

In your novel “Die, My Love,” the Montana setting you’ve crafted is distinctive, vividly capturing local essence yet serving as a somewhat abstract backdrop for the unfolding marital crisis. Could you elaborate on what aspects of the setting you wished to highlight in particular?

In a twist of events, our scenes were filmed in Calgary, yet Montana lies just beyond the horizon. My past storyline portrayed us as New York residents; he aspired to join a band but found limited success, drifting aimlessly. She, on the other hand, penned a few pieces that saw publication. Our characters are drawn towards the allure of a fresh start due to the house being offered free of charge, a common choice for young couples escaping the high costs of New York City. Intriguingly, this dwelling seems to take on a life of its own. We’ve already captured the initial sequences within the house, not from the outside perspective, because the house appears to be observing us. The early influences of “The Shining” are evident in these scenes.

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Combining the uniquely stubborn and artistically independent minds of two prominent figures in global cinema might be similar to colliding an irresistible power with an unyielding obstacle. The outcome could potentially result in chaos or conflict.

I noticed that. Plus, with parents like Sissy Spacek and Nick Nolte, they possess an intrinsic allure of their own. Did they recognize your work, similar to how Jennifer Lawrence did?

I visited them not just casually, but because they held significant value in my childhood memories. My father had a deep affection for Nick, while I’ve admired Sissy Spacek since “Badlands.” In the novel, the mother-in-law appears to be unhinged, but she skillfully portrayed understanding the situation.

At the outset, the primary characters share fabrications they’ve likely been telling for some time: “I could definitely produce my album here,” and “You can surely pen your Great American Novel.” One might wonder if they eventually find themselves in a more authentic setting by the film’s conclusion.

For a period, I too experienced writer’s block, finding myself in a frustrating loop of rewriting the same sentence. It felt reminiscent of Jack Torrance’s struggle in “The Shining.” With a newborn added to the mix, productivity became even more elusive. Life took an unexpected turn, causing a significant disruption.

I couldn’t help but relate to the protagonist, who harbored high hopes and aspirations only to feel trapped, isolated, and eventually driven to despair due to her circumstances. I found myself contemplating films like “Repulsion” and “A Woman Under the Influence,” which portray a tragic tale of love and misunderstanding.

Do you ever feel trapped by the massive reputation of your early films?

Twenty-five years after first watching, I find myself revisiting films that resonate deeply with me. Last year, for instance, I caught “Morvern Callar” in a youthful cinema setting. It was a delight to witness, as the film, now two decades old, still captivated them all. The laughter echoed through the theater, and it was evident they understood its nuances.

I believe this film may have been overlooked initially due to creative differences with the financiers. Back then, I advocated for a unique poster design, which I still admire today. They preferred something more traditional, but the original remains my favorite.

The design on that particular poster is just spot-on, yet there’s something about it that stands out. I can still recall it vividly. It exudes a sense of warmth and closeness.

In simpler terms,

I sort of advocated for that particular item. They were after something resembling a western movie scene from Mexico or similar. It was quite pleasing. However, I still have that poster in my home in Scotland, where it stands out against a dark wall. And surprisingly, the kids seemed to understand its appeal – despite the fact that she carries a Walkman, which is essentially ancient technology by today’s standards.

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Along the Croisette, the highly anticipated film “Eddington” by Ari Aster, featuring Joaquin Phoenix and Pedro Pascal, as well as a promising directorial debut from “Babygirl” star Harris Dickinson, has generated quite a buzz.

Although it might seem somewhat old-fashioned, it’s still effective. You have skillfully encapsulated some fundamental aspects about Samantha Morton and more recently, Jennifer Lawrence as well. Have you ever pondered over award nominations or even the Oscars themselves?

Indeed, I let go of that quite some time in the past. To be honest, I haven’t laid eyes on those BAFTA awards for a considerable period because my mother had been keeping them. While we were decluttering her home recently, I chose to part with them all.

Were they in her closet or something?

No, she had a little cupboard that she just put them in, but I just kind of forgot about them.

She was proud of you.

Indeed, they had been stored in a small display case, and somehow the thought slipped my mind. Upon retrieving them again, it felt strange.

Where is home? Is it still Scotland?

In reality, it’s London where I reside, but I also possess a property in Scotland. Sadly, my mother departed just a fortnight ago, which necessitated a funeral followed by filming commitments. Consequently, the past few weeks have been quite demanding for me.

Is she the one the film is dedicated to?

Yeah.

Can you share some memories of your mother and discuss what lessons or influences she had on your artistic journey?

She instructed me in the art of filmmaking, to put it simply. In my childhood, I often found myself engrossed in films and was mistaken for being deaf due to my tendency to disregard others amidst the bustle of a large family. However, she introduced me to some captivating movies, with “Imitation of Life,” “Mildred Pierce,” and “Vertigo” being among her favorites that she watched countless times.

She taught you how to give yourself over to a film?

Absolutely, both she and your father shared a passion for movies. However, my father had a peculiar habit of spoiling the ending, making it less enjoyable. He’d often say something like, “This is what will happen.” It was frustrating at times, and I’d exclaim, “Dad! I don’t want to know!” Yet, she was an intriguing, intelligent woman who didn’t come from a film background. They were ordinary working-class people, but their love for visual storytelling through cinema was profound.

Glasgow is known for its blend of hardworking intelligence among its residents, and boasts an excellent educational system that nurtured my parents’ intellectual prowess. They would often take us to the movies, which they fondly referred to as “the pictures.” My mother had a remarkable memory, recalling details like the year a film was released or obscure actors in it with ease. This sparked excitement in all of us, and she was simply a warm-hearted individual. The community was deeply saddened when she passed away.

I’m sure you’re still feeling it. I hope you don’t mind me asking about her.

Currently, I am here. However, I find myself feeling somewhat more tranquil recently. It happened swiftly and unexpectedly, yet surprisingly, it turned out to be enjoyable. Coincidentally, the music supervisor’s mother passed away just one week afterward, which we didn’t anticipate. As a result, we’re all quite taken aback. My mom, she was 88 years old. She lived a full life.

This version maintains the original message’s tone and meaning while making it easier to read and understand for most audiences.

When will be the appropriate age for you to show your daughter your movies?

[Laughs] I don’t know, 18?

How old is she now?

She’s 10. Maybe “Ratcatcher.” Maybe about 16 or 15. I don’t know. They’re all kind of hardcore.

You probably made it when you were 25.

In another timeframe, roughly 26 or so, my daughter watched “The Shining” – a film that captivated her instantly, even though I initially thought she was too young for it. Although the movie contains a single violent scene and isn’t excessively frightening, she found it fascinating. Intriguingly, she expressed interest in rewatching “The Shining.” My daughter has an artistic flair that makes her appreciate such unique cinematic experiences.

Do I have a promise from you that I’m not going to have to wait 10 years for the next film?

Nah, definitely not. I’m on it. Jon Glazer too. We’re both like, we need to rock and roll, man.

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2025-05-21 04:32

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