![]() ![]() You can set it in a really absurd scenario, like a basketball player - seven foot tall guy - getting stuck in a vestibule, and then you work your way backwards from that. But then, of course, there are a handful of overarching narratives, and there are ways you set the arena. So, once you know these people, you can find their actions dictate themselves to you. ‘Cause you move things around like, “Oh well that happened to Howard because we wrote it out in detail,” or Dinah, or Julia’s character, or even Kevin’s character, or Demany’s character.Įach character had their own detailed biography. So we were able to go back and amend the character biographies and they were so intricate and there were so many different versions of the script that actually ended up playing into the biography. Joshua Safdie: It always comes out of the character, you know what I mean? And if you’ve done enough work and research … obviously with this one, we had a lot of time, not by design, but we just had a lot of time. On getting characters torturously from point A to Z Like “Oh yeah, yeah, yeah.” So you kind of don’t remember the anxiety in weird ways, which is kind of shock treatment. So, in the end, when you watch it, you kind of break it down into little bits and pieces. The level that you have to deal with is out of control, and you literally have to go through a crash course of the most anxious you’ll ever feel at any moment. I do think that those are tied deeply to the people who make them.īenny Safdie: The thing that’s very strange is the production side of it is so anxiety-inducing. There’s the jump scare horror movies, which aren’t scary anymore, and then you have a deeply eerily scary movie like The Shining that makes you feel uncomfortable. ![]() Whereas when you watch a horror movie … there’s two different types of horror movies. It’s different for us, though, like I can always watch Uncut Gems, and tap back into the feeling of anxiety when he’s in that SUV being flanked by them, by those heavies. I always wonder if they’re trying to work out some sort of deep rooted fear, or if it’s some sort of like sadomasochistic thing. ![]() And someone like Eggers, who does horror as well. We’re good friends with Ari Aster, and I think he has anxiety issues that he’s working out. I always wondered about horror film directors. From waiting to land Sandler - at one point, Jonah Hill was even attached - to getting sidetracked by past films (see: Heaven Knows What), the journey to Uncut Gems is as long and winding as that of Howard’s opal.Īdam Sandler, Uncut Gems, A24, Safdie Brothersīenny and Josh Safdie on the set of Uncut Gems (A24) Not only did their own father work in the Diamond District, but they’ve also been building up to this film for over a decade. Much of that intimacy stems from the fact that Uncut Gems is a personal pet project for the two. It’s another survival parable from the Safdies, and while it’s their most expansive production to date, it loses none of the intimate anxiety that fuels their gritty catalogue. As Howard Ratner, Sandler haggles his way throughout New York’s Diamond District as a Jewish jeweler drowning in myriad debt. Their latest catch is Adam Sandler, who delivers - as you’ve no doubt heard by now - the performance of his career in Uncut Gems. The five-star table-setting is as much a juxtaposition for them as their tightly-wound dramas are for the A-listers they attract. They’re uninterested in any of it, though. So, it’s only fitting that the two New York filmmakers would be talking from Chicago’s Waldorf-Astoria, on a swanky couch, surrounded by fruit, coffee, the works. ![]() Their films are flooded with it vivid, dense, frenetic pictures. Josh and Benny Safdie are no strangers to style. The post Uncut Gems’ Josh and Benny Safdie on Quoting Adam Sandler and Being Saved by Scorsese appeared first on Consequence of Sound. ![]()
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