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domingo, mayo 26, 2024
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Rian Johnson, director of Looper

Rian Johnson, director of Looper

The director of Looper, a jewel that is built with the precision of a Swiss watch and deserves to be among the best films of this year, has gone through Spain to present his film and chat with the press the same keys. Born in Maryland in 1973, Rian Johnson studied film at the University of Southern California and was launched his directing career with the film Brick, which first worked with Joseph Gordon Levitt, star and co-director of the creative path the long gestation-ten years of Looper.

– Has worked with Joseph Gordon Levitt in all his films. Did you know him before rolling Brick? How do you see the evolution of the actor through the years?

– Brick After we became friends, so it is difficult for me to say how it has changed over the years, because I’ve changed a lot. What I can say is that it has remained in his passion for the character when choosing a role. It does not matter whether small or independent film or be like Batman.

– As we know, the actor studied all Bruce Willis movies, the future version of his character in order to play the role more believable.

– Effectively saw many films, and especially long heard the voice of Bruce Willis, especially Sin City, which he recorded on his ipod and listened and then Bruce recorded continuously for the voice he had to do as a storyteller Joseph. I think a very clever thing is that Joseph did not see the first films of Bruce, Die Hard, etc., nor the series Moonlighting, not wanting to imitate him, wanted to create a character on it.

– The film is full of literary and film references, and covers various genres.

– Yes, when I was writing the script, oddly enough one of the references was Macbeth, where the witches are like time travel, give a little information about the future and then the protagonist spends time destroying his life for this Information. A bit like Bruce’s character tries to do. Kierkegaard also, the idea of ​​the sacrifice of Isaac and Abraham in the Old Testament, TS Elliott, the future, past, present, and Murakami.

– Given all that collection of literary references, along with other more cinematic, I wonder how it worked with all this material to develop a script like Looper, which also occur very sharp turns throughout the story.

– It takes me one and a half to write the script and spent a year working with notebooks and diagrams. Say this is the narrative engineering that allows me to have the structure. And then when you actually write the script and out much easier.


– What led you to recruit these players in particular?

– Well, as Joe are great friends and we had talked about doing this movie. But more than anything is that if I needed an actor who was able to make a major transformation, and that is something that he is not only capable of, but also loves to do. Say you have the soul of a character actor. He likes to disappear into the character. As Bruce is a great actor, especially liked in Twelve Monkeys, and able to take risks and not afraid to be vulnerable. In addition, the name of Bruce Willis makes the audience wait hero arrives, find the bad guy and I shot. But in this film he can be the bad guy and have to turn around its moral compass.

– This film began as a short film …

– I’m hanging up the script of short internet so you can see, but basically in short was the voice with which the film begins, and then when you see the future version of the protagonist can not run it, is when appears voiceover talking about the moral dilemma, and then ends at the beach, where the two meet. But in short it was the girl or the boy. It had something to do with women. In fact, Sarah’s character is what gave me the key to fit all the pieces when I do the film raises. And not in the short. Its construction was born with a program I heard on the radio on parents of autistic children and that gave me the key to this strong and courageous mother determined to communicate with your child and love him, even though it is a child who tends to be isolated.

– In Looper is a series of fringes, as attacks homeless man and that advice from the future to the protagonist to not go to Paris but China, which contribute to give more body to the world. Are developing those stories? Had more about them that is not in the movie?

– No. The truth is that I like to plant this type of fringe or tracks in the stories. It’s like when we saw Star Wars and we talked about the Clone Wars. I figured impressive things about these wars, mythical. And then when it premiered Clone Wars, I was disappointed because I had expected much more than that. So I like to plant those tracks, but not develop them. I’d rather he be the public who do it in your imagination. So do not feel as disappointed as I was when I saw the Clone Wars.

– Looper is a powerful key western.

– Yes, especially in the second part. Performer is between urban, more black film, where deception and ambiguity, and the rural, more western, where everything is good or bad, white and black. And you have to decide between the two.

– I’ve imagined myself or there a clear reference to Shane?

– It’s true, the tree and the ax are Shane …

Juan Miguel Payan


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