Photo source: Suzanne Tenner
When Steve McQueen was the women's "widow" led by Fox in the theaters on November 16, he was clearly advised not to work with Michelle Rodriguez.
"She is not worth a meeting because she is hard," he remembers, that he has repeatedly said. "I think, Hm, that's ridiculous. What people say about me. Often, if you're a white male director, you consider yourself a perfectionist, but I find it" difficult. "
So 49-year-old director, "12 Years Slave", "Shame" and "Famine", went forward and met Rodriguez in Los Angeles. "She is the most interesting, exciting, intelligent woman involved in life and what's going on in her neighborhood. We've entered a fire house," says McQueen. "Anyone who is considered" hard ", maybe they just struggle with so many interesting things. My goodness, do you just want everyone to be easy? It's boring!"
Funny criminal thriller, in which women try to complete the heist planned by their ex-men, include Viola Davis, Elizabeth Debicki, Cynthia Erivo, Carrie Coon, Brian Tyree Henry, Daniel Kaluuya, Colin Farrell, Robert Duvall. , and Liam Neeson. "I just want our films to reflect the audience who pays to enter cinemas, that's it," says McQueen from a diverse band. "Very simple and modest prayed for them to have this experience, searching on the screen and seeing themselves."
When choosing the setting for the 1983 British miniseries reimagining – "Unfortunately, not much has changed since then," he regrets, McQueen chose modern Chicago. "This is an upgraded version of the modern city where [we can portray] race, politics, police officers, weapon crimes, religion, classes – all of these fractures in society and how they interact with each other, "he says." It was very important to do that. This does not mean that marking the boxes is about telling the truth. "(Despite the fact that next time he does not include so much space for the night, he admits laughter.)
McQueen's film script, co-written by Jillian Flynn, is emptied by a timely social commentary, because, like any genre film, "there is no provision, just a convention," he says. "If we do not violate these rules, we could also play the same image, time and time, and over and over again."
One outstanding scene is like a long, unconventional part of the body that is in the heist subgenre or otherwise. As Farrell, who plays the local politicians of the old schools, moves from an apparently impoverished area to multi-storey headquarters, the camera is sitting on the windscreen, figuring out how quickly the socio-economic environment is improving; Meanwhile, his confidential conversation with his staff is audible to the audience. This distinction between the two areas, along with character chats, reveals genuine discrepancies between the public and private behavior of politicians.
"I'm a British filmmaker, so basically we always try to stretch the pound and figure out how we can say three or four things with one shot," McQueen explains how to create a particularly effective sequence. "The fact that the distance was so short between these two sites, it asked me to do so in such a way that only cinema can be."
As the current political era continues to cause difficulties on both sides of the pond, "widows" remind observers that such corruption may take place in our own yards. However, citizens should not consider themselves vulnerable. "Some politicians are about people, and some politicians are on their own," says McQueen. "Sometimes we feel paralyzed, we think we are helpless, but we can start by knowing what we resisted in so many ways and know how we can move ourselves in this environment. If this happens, we we can not stop it. What we can do is pick our raincoats. "
It does not really matter to McQueen, however, if the politicians themselves see their own "widows." "I care about the people who see it," he says. "People can put them to power and they can vote for them. People are those who have power."
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