“There’s the story of RoboCop visiting his house where he’s already RoboCop and he finds out he was called Murphy before, and he finds out where he lived and there’s these kinds of feelings and flashbacks about his wife and his son,” Paul Verhoeven tells Danny Gallagher in the Dallas Observer. And “that was really the scene that convinced me that there was, for me, from a theological point of view, that there were elements there that I felt were interesting.”
False Confessions, Luc Bondy’s adaptation of Pierre de Marivaux’s 1737 play Les Fausses Confidences, sees a limited release today. At the Film Stage, Joshua Encinias asks Isabelle Huppert, who plays Araminte, to compare her character with Michèle Leblanc in Verhoeven’s Elle and Nathalie Chazeaux in Mia Hansen-Løve’s Things to Come: “Each woman is in very different contexts and situations. But the three of them are keen to be free to live according to their desires. They are sometimes submitted to power or strength that they can’t control. So in that sense, they have something in common.”
“I made, seven, eight, maybe nine films with Wong Kar-wai, but I’ve also made ninety other films,” cinematographer Christopher Doyle tells Kaleem Aftab in Filmmaker. “The work we did together, it was what it was, and it has some resonance for some people. I don’t want to be disparaging about anybody, but what I did since then is also another journey.”
For Vulture, Justin Joffe talks with Jim Jarmusch and Carter Logan about their band, SQÜRL, and scoring Jarmusch’s films The Limits of Control (2009), Only Lovers Left Alive (2014), and Paterson (2016). SQÜRL’s EP #260 is out today, their Paterson soundtrack will soon be released on Jack White’s Third Man Records.
For Pitchfork, Marc Hogan talks with Harmony Korine about the music that made an impression on him when he was five, ten, fifteen, twenty, twenty-five, thirty, thirty-five, and forty.
“A Ghost Story was so intense and such a weird process that I don't know if I can succinctly say what I learned, other than that I learned the same thing on every movie, which is to trust myself,” David Lowery tells Tomris Laffly in Film Journal International. More from Sean L. Malin in the Austin Chronicle.
“The thing with Fassbinder is the attitude,” Albert Serra tells Robert Kotyk in the TIFF Review. “The uncompromising attitude of the artist with his own work, dealing with real life, this game between artistic life and real life. In this sense, Fassbinder was a great inspiration.”
With Lady Macbeth opening this week, William Oldroyd, known for his work in theater, has been making the rounds, talking about his first feature—and influences. He’s big on Michael Haneke. “I have to be careful not to essentially just copy him, because he’s such a master,” he tells Jordan Raup at the Film Stage. Talking to Dustin Chang at ScreenAnarchy, he adds two more names to the list, Gus Van Sant and Kelly Reichardt.
“With each new work—fiction or documentary—Amos Gitai examines the conflicts that make up the landscape of Israel,” writes Joan Dupont, introducing her interview for Film Comment.
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