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How to understand the film "Under the Silver Lake"? We asked his director, and he, of course, did not explain anything.

So, the movie was released in the director David Robert Mitchell «Under Silver Lake"Is a real new"Mulholland Drive, A complex, inexplicable film about mysterious accidents with the unlucky LA geek named Sam (Andrew Garfield), which discovers something very strange around itself, a certain conspiracy connected with the powerful of the world, and does not understand how to live with it. And until the end of the picture it is unclear who has become too clever by himself, Sam himself, who has thought up too much for himself, or the author of the film, or the unfortunate spectator, who, after both of them, also goes somewhere in his thoughts. In general, a deep movie about the unknowable reality.

The film at the Cannes Film Festival, where its premiere was held, was, of course, scolded, but not defeated. Earlier, David Robert Mitchell made not the most remarkable, though also a rather strange picture “The Myth of the American Party”, and then a real mainstream art hit, the horror “Ono”, where teenagers gave each other sexually a very terrible disease, from which you start to see some horror.

Probably, when the heads of the A24 studio saw the film "Under Silver Lake", they, like the heroes "It", Too, greatly frightened. And so much so that the release of pictures in America was already postponed twice (in Russia, the film is released several months earlier than in the USA), and it seems that all this time they tried to remount the picture. But she still miraculously comes out on the screens, although without any hope of hooking a wide audience. And it’s a pity: perhaps in time people will understand that this is a new "Donnie Darko».

David Robert Mitchel

David Robert Mitchel

According to the good old Lynche tradition, David Robert Mitchell did not tell anything concrete about the film during an interview at the Cannes Film Festival (and stated a couple of dozen times in response to various questions that he “does not know”). But after his vague hints, I want to reconsider his film again ten.

There are no spoilers in the interview, but it becomes clearer and more interesting if you return to it after watching the movie, believe me.

Tell us about your personal Los Angeles. How do you feel about him? Why did you choose him as a scene for a movie?

Oh, very different. Do you mean what it is like to live there or what it is like to make films there? Let's do this. I think this is a great place. The weather is beautiful, the city has a great history, the whole film industry is there. And, obviously, in Los Angeles, so many people are busy searching for themselves or what they want to become, and many are drowned in the process. For a long time this city was idealized. On the other hand, in the last few decades, Los Angeles has been shown in the cinema as well as a more disturbing, dark place. This is partly why I chose him. It was interesting for me to participate in the creation of the cinematic geography of Los Angeles, to invent it anew.

David Robert Mitchel

David Robert Mitchel

This is the city where the most wealthy, incredible, successful, famous people are located, and this is very noticeable. Even if they themselves are not interesting to you, you can not ignore them at home, you can not not follow their lives in social networks. All their dreams have come true. And at the same time, you have some dreams of your own, and it’s absolutely not a fact that you will manage to achieve something. Therefore, it seems to me that everyone in Los Angeles has some kind of complex internal conflict.

Your films have a special intonation, a kind of mysterious mood. Give some advice on how to learn to make films just like you?

Oh, I do not know. How does this work for me? Well, probably, everything is created at the stage of writing the script. I feel something, then I invent some scenes of action, mentally put myself there, trying to convert this feeling into text, into a picture, into music that sounds in the film, and so on. It is difficult to explain how this is done, there is no one specific method. Something else remained in me after I studied a lot, watched a movie, studied myself. Much is also being done purely intuitively.

How did this movie start for you?

Well, at that time I wrote several scripts, and I wrote very obsessively. And suddenly we started talking to someone about those luxurious houses on the hills that are visible from everywhere. And I asked the question: Listen, what is really happening there in these houses? Since this all started. This is a question that I could not stop thinking about. I imagined what secrets are stored there, behind these doors, I fantasized to myself all that beautiful or terrible that could be seen there.

David Robert Mitchel

David Robert Mitchel

And what films did you look back on when you shot “Under Silver Lake”? It seems that there is just some abyss of quotations from other works.

I do not know, it is difficult now to quickly collect a specific list. Well, I love it very much Хичкокока, I was just obsessed with them as a child, I was constantly reviewing his films.

Here is the question of other films and works in general. It seemed to me that “Under Silver Lake” was largely devoted to the death of pop culture. All these intricate, often meaningless allusions and references that lead the main character somewhere, then suddenly lead him to nowhere. Is it just my thought or yours too?

The idea that pop culture is dead? You know, I will not say that something is right, but something is not, because I myself do not know. In particular, whatever happens in the film, be it a fantasy, or a dream, or a reality, is not for me to judge. It is not me, but only the character of the film determines for himself whether any question is concerned or not. As for the dead pop culture - oh, I don’t know if it’s true or not, but it’s interesting.

You just have a lot of traces of this pop culture in the film, endless posters on the walls and so on. And the same culminating monologue of a person at the piano is just a deadly symbolic blow to pop culture.

Well, this is definitely a very important point. In this scene, everything that brought joy and pleasure to Sam is meaningless. Is there any beauty and truth in pop culture? I myself do not know. Hope to stay. But this is my personal fear that everything is gone.

Shot from the movie "Under Silver Lake"

Shot from the movie "Under Silver Lake"

In the story, Sam is horrified to notice that his life seems to be starting to follow some kind of conspiracy theory. Do you yourself believe any conspiracy theories? In masons, for example.

Well, there are a million conspiracy theories, they all seem charming to me, but I don’t really believe in them, you know. Although I am fascinated by those people who believe in them, who seek to find the truth.

I honestly tried to find the truth in your film, in the sense that for me there was a lot left incomprehensible. So let's ask nonsense: how did Sam pay for renting an apartment before the movie began?

I can not answer you. The thing is how this movie is conceived. This is a fundamental point: for me it is extremely difficult to formulate what this movie is all about. Although, I must say, many of his secrets can be unraveled, there are clues for that, in the sense that you can find out who Sam is and what happened to him before the movie. Yes, what you are asking is very important, but we will never know much about him.

That is, the viewer should understand “By Silver Lake” on some more intuitive level?

Yes, the film is purposely made so that it can be felt at various levels. Not everything in the picture can be understood from the first viewing, but it is so conceived, yes. I think some of the details in the film will never be discovered, found and understood.

Can you say that your film is a portrait of the generation to which Sam belongs?

I have never thought about it, it's hard to say now, I don’t know. You know, sometimes everything happens the other way around, and the generation becomes as it was invented by film directors who were shot in those years when these people grew up. Anything is possible, I'm not sure, then we'll find out.

Shot from the movie "Under Silver Lake"

Shot from the movie "Under Silver Lake"

Many people compare your film with the pictures of another David, Lynchwhere you can see a lot of symbolism, which he has no clue. Tell me, is it possible to solve the film “Under Silver Lake”?

It is hard to say. I believe that much can be understood, but not sure that all. We need to think about it in general. It generally surprises me how people can sometimes see something that you don’t notice and point out interconnections, which, it seems, are not at all.

It seems to me that this is a very important and cool nuance of human thinking: we are always trying to find some important things for us personally and to tie them together. As a result, we get something completely new, something that was not originally intended, everyone gets their own film, which they shot for themselves. And this is the most interesting: the film is not a puzzle, in which he collected all the elements, that's all. You never finish collecting a movie. Even if there is a feeling that you already understood everything, it is never clear where you need to stop in these searches.

And you stop in your search? What will you shoot next?

I am finishing and I hope to finish a couple of different new projects.

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