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Berlin Interview: Richard Linklater Talks Making ‘Before Midnight’ & The 14-Minute-Long Shot

Interviews
by Jessica Kiang
February 21, 2013 1:01 PM
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Before Midnight Ethan Hawke Julie Delpy

And so why Greece this time out?
[It wasn’t necessarily Greece] until May of last year -- we thought about setting this one for a while in the U.S., maybe a town like San Francisco, but we had to think about where would she be able to get a job in her field that is fulfilling to her and where would he be as a writer/teacher.

… [The setting is] important -- it’s a third character. Greece is an important character in the movie -- in one way it could sort of be anywhere -- but it ends up being a major player in the movie. Greece was happenstance. I had a couple countries I was going to go to, but I went to Greece and I found the house.

How much does the location then influence the writing process?
We work [the location] in -- we’re enmeshed. We had outlined the script in the States, we had drafts of scenes, but we really all showed up in Greece to work on it, so naturally our time there was finding its way in, and the people we were meeting, in dialogues. We weren’t trying to say anything about Greece but we were trying to infuse it with the experience.

And how seamlessly does the writing transition into the shoot?
We are co-writers and co-creators, and then there’s that moment I always talk about when we’re getting close to production and they have to act and perform and I have to make the movie, then we kind of become actor/director. But it’s not a big thing. Our rehearsals just kind of blend into production, but there is that moment where they realize just how much work they have to do and I’m the guy to remind them that they’re not quite there yet.

I’m like “Let's run that scene” and then it’s “Hey, you don’t really know that scene yet! Even though we all wrote it together, you’re not quite there. I’m going to go have a production meeting and you guys keep running the lines…”

But you must have known, even around “Before Sunrise,” that you were looking for collaborators, rather than just actors?
Yeah, 19 years ago I was casting that first film, and I was looking for the two most creative people I could find. I’d done a few films at that point, but they had been big ensemble films and there’s a kind of actor who just wants to do their lines the best they can, but I like the actor who’s like, “What about this?” They bring more to their character.

"Before Midnight"
"Before Midnight"
If you’re doing a big ensemble and a part doesn’t take off, you just have less of it in the final film, you cut it out of the movie. But this, it was like the whole movie relied on them. I had a script but I was demanding that Ethan and Julie work with me to rewrite it and bring themselves to it. That script ended up being just an outline with ideas sprinkled throughout that we built on.

Ethan at that point had written a novel, had made movies, made music videos, they both were in full-blown acting careers too, but yeah, they both aspired to make movies and scripts. And it’s evolved into this [thing where] they’ve had these writer/director careers themselves and we have this epic collaboration going on now that’s really fun.

You employ a few very long takes in this film. Are they difficult to shoot?
Yes, the car scene -- it’s very difficult for the actors I think. It’s a tribute to Ethan and Julie, what good actors they are. It’s the kind of acting you don’t give awards to because people accept it as real, kind of like the apes at the beginning of '2001' -- they didn’t win best costume because they thought they were real. Julie and Ethan, people think it’s real, they think we just turn on a camera and we capture these dialogues. You know, "acting" is Daniel Day Lewis playing Lincoln -- that’s acting. And I’m not saying it isn’t, it’s good acting, but that’s seen at a different level, when it really isn’t. This is actually harder, I think.

And the kids in the back of the car were great too...
I’m glad you picked up on that. It’s a 13-plus minute scene and they have lines that they have to say, and that’s one take. We do do that cutaway to the ruins, and yet I cut back to the same take, it’s not like I switched takes there. It’s one almost-14-minute shot. It’s a little perverse but I felt that was a good way to get reacquainted to the [characters], without cut-cut-cut-cut. You can look at either of them -- it’s classic Andre Bazin, mise en scene cinema theory. There’s something to that, I like that you could just hang out with them.

There is a now timelessness to Jesse and Celine’s story, despite the fact that originally it was hailed as some sort of Generation X thing.
I think we were unencumbered by that, maybe the European setting or whatever [helped]. But what Gen X people talked about… there’s not really one pop culture reference in that movie, that movie could take place anytime. It’s two young people who are 23 in 1993 or 1994 and that’s the generation you’re in, but that’s just chronology and birth.

Linklater, Hawke and Delpy B/W
Did the nature of reuniting the first time inform your “Untitled 12-Year Project” [which is being shot year by year and plots the changing relationship of a boy with his parents]?
Actually it was the other way around. I started that one in ‘02 and we reunited in ‘03, the next year. So I guess I was thinking about time a lot, while committing to that idea. That one will be done in a couple of years, but it is a weird notion the way time and cinema [work]. It’s such a unique property of cinema -- Tarkovsky talks about that, in his great book “Sculpting in Time.”

...What’s really interesting is what you go through as you get older and acquire more life experience, and now I think [Jesse and Celine] represent just people who have gone through being alive for the last 20 years in the world. And we’ve all done that - we’re all 18 years older.

"Before Midnight" arrives in theaters on May 24th.

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