Meshes of the Afternoon #14

"I usually begin, like many directors, with an image book, that I put together and draw from references to films, or whatever is germaine to the project and meaningful. And often that is a lot about cinema. That was true for Far From Heaven, that was true for I’m Not There, that was true for Mildred Pierce.
In the case of Carol it was a little less true; I was looking almost more at photo journalism and art photography from the early 50s when this takes place, and found that the culture, the American life, particularly in NYC, at least in the images that I was seeing in the research, depicted a very very different world than we think of as the 50s, the Eisenhower era that is much more depicted and relevant to Far From Heaven."

Todd Haynes partilha numa longa e detalhada conversa com Scott Foundas, crítico da Variety, os padrões criativos que regem o fascínio do cineasta pelos mistérios e contrições dos anos 50.