By Jessica Kiang | Indiewire November 23, 2012 at 9:02AM
I would wake up every morning and write for a couple hours, I would dream about it and I would write, then I’d talk to the actors and tell them what I wanted them to do, and I would have them mix in some of the personal stuff that I knew about them. When I cast in Austin I didn’t talk at all about the characters they were playing, I asked about them. I was told people don’t cast that way, I dunno how other people cast. I cast more like a psychiatrist -- I’m interested in the people and where they come from. And so I was able to play on that, and then during the film I would surprise them I would say, “Talk about what you were talking about then” and they were very cooperative and quite wonderful, everything was magical and just worked.
Everybody in the film has a different philosophy of life and I wanted to get their backstories and find out why they are like what they are like. And so at some point they all tell and everybody’s is different, so you see there’s kind of like a micsrocosm of America, of what’s going on with racism, with immigration and all that. And how, with the internet now, everybody knows everything and the sex and drugs.
I love the sex scene between Adam and Inez because it is so tender and so real, it’s like little puppy love, so innocent and they were actually kind of falling in love on the set and it shows in the film. And the rest of the sex scenes I would just think about different ways to do it, and it was fun to make it up on the spot.
This film feels a little different in structure from your others, did anything change in your approach?
What happened was the last two films I wrote myself -- "Wassup Rockers" and "Marfa Girl." I‘d been talking to writers and I found out that all these writers have these rules, there are certain ways they do things, and I probably should have snapped to this earlier but I don’t need no fucking writers, and I hate rules, and so I said I wanna make a film where I only put in what I’m interested in. And I don’t care about getting from here to there, only what I’m interested in, and I’ll figure a way to make it work. And the freedom made me so happy. Coming from the art world there are no rules, and once you start playing with rules then you’re in trouble, so this was really freeing.
I happened to mention to a writer that in my new film I’ve a character who is a masochist and likes to get beat up and I also have a kid who is kind of starting to get into spanking a bit, sexually, and he said, “Nononono, you cant have two characters with the same [thing]… that’s the rule" and right away I said "Fuck writers, fuck you people."
I’m fearless -- I think I’m much more fearless. There’s no fear at all anymore more. It’s gone completely and there [used to be] always fear, especially when you’re young. My first book "Tulsa," it was literally, I thought very seriously about burning the negatives and shooting myself. Or publishing the book, and I chose to go for it. Because no one knew about that world, I was taking a chance, I was going into uncharted territory.
I don’t care anymore I’m comfortable doing exactly what I want to do, making exactly the movie I want to make. I’ve always done that, I’ve never compromised, but now there's no fear.
"Marfa Girl" is available for download now for $5.99 at larryclark.com