Nathaniel Dorsky and Jerome Hiler on collaboration, haiku, light and color as ‘Luminous Intimacy’ opens in New York.
‘The sense of disassociation is important. I was really interested throughout the whole film to match form and function.’
Drawing inspiration from Céline Sciamma, Agnès Varda and Kelly Reichardt—’because they always know how to hit you where it hurts.’
‘We really did not want to say goodbye to this brilliant, imaginative and totally committed group of actors and media artists.’
‘Wait, what? I’m a filmmaker?! That’s my job?!?’
Lyrically meditating on the hog farm, in seven acts.
‘Films should be causing people to be feel weird,’ says the friendly renegade.
‘You know you’re working with an imaginative space. There’s a lot of cheating of space. We know how to do that with a camera because we’ve worked with stage design.’
‘After Sundance people were talking about black comedy and Charlie Kaufman, then in Berlin they were talking about Bergman. Both are fine with me.’
LAST LIFE IN THE UNIVERSE fashions a perfectly flawed love story.