2009年1月号（11月22日発売）のAERA Englishでは米国の映画監督、ゾエ・カサベテス(Zoe Cassavetes)のインタビュ ーを掲載 してい ま す。ぜひ、ご覧ください。。

Interview: Miki Inamura


1月号の詳細はこちら
ご購入はこちら


SCRIPT

A:
Id like to know where you get the idea of the story?

I think in the certain age in your life, you re-evaluate, and you start to take an inventory of where you are and what you are going to do. In your 20s, you are running through like you don't pay attentions to that, and that, in your 30s, you stop and you have a job hopefully that you like and apartment and you are really kind of an adult, and you are left to realize what's missing in my life and that. Especially in this age of this mid 30s, like Nora, is very specific age, I wanted it to be just this age, because, you know, you're not only ... someone asking you like "Where is your husband?" and "Where's your thing?" but you have to think if you wanna have children you have to think about it. So I have a friend who is so crazy like, well, I wanna have a baby, if I have a baby, I gotta meet a guy, but it gotta be a year of knowing him and I gotta get pregnant it gonna be another year and I wanna be this. So, hold on, you think like "You crazy but you are right!" So , I was kind of feeling that. And I was, as soon as you think, you think about something, you start to hear it all over. And it became more more more, so I decided I wanted to write about it.

B:
How did you like working with your mother?

I hated it. No, it was fantastic, of course!

Did you get any advice from her when you're shooting?

Well, she lives in L.A. I was living in NY, and when we got money to make movie she called me, she was so happy. We talked about her part and then, she said you wanna talk about the rest of the movie and I was like, "YEAH!" because you have to listen to someone with THAT talented, THAT experienced, and ah and also knowledgable, not only acting, but about the whole movie process. So ah, she was so great and I was so proud of me, and of course, that made me feel really good. And then, working and so were preparing a lot before, and so when she came to the set, of course, she's gonna be prepared, so when she just came in, and then it was so amazing to view a director having Gena Rowlands on your set. And also mum. So pretty special.

C:
How do you usually make a balance with fantasy and reality when you're making something?

I think it's nice to have a balance of both. And ... its, NY is a very realistic part of the movie, and what happened to her, because it's her world. And sometimes you go outside of your world, like even me here right now, it's like I feel like wow, you know, you feel so, you are not in your own confront zone, you know, and so, there is no specific boundary of who you should be or what you should do, so you have the chance to have actually reality be kind of this fantasy. And this is kind of, so she took this kind of crazy chance to go find him, and really go outside of herself, and, and when she did that she became someone else, someone more. So I think the Paris part was allowed to be a little more fantastical, because she was outside of any kind of structure that she knows.