The Oscar winner’s first feature since 'Drive My Car' is the result of a collaboration with composer Eiko Ishibashi: 'I think the best way to understand this film is that it’s like listening to music.'
Evil Does Not Exist
Perhaps this is very selfish of me to say, but I think the best way to understand this film is that it’s like listening to music. I guess you could say that there are too many meanings and thoughts behind the film for this idea to work. But ultimately, it’s really about the characters being able to move within nature. It’s more enjoyable to actually just witness the movements of the characters. It’s a film that doesn’t give a clear conclusion.
I’m a little bit embarrassed that you’re mentioning this because Godard sort of was the common language that Aiko and I had while making this project together. We both had several names that we would bring up when it came to film music that we liked, and Godard was definitely one of the names we had in common. His filmmaking in itself feels like a sonic experience to me. I feel that it’s music in some ways. So, for this film, I think we were greatly influenced by his work.
I’ll say first of all that I was really having fun with it — with the way the camera was used. In some ways, I was trying to break away from the camera movements I had used in my prior filmmaking. What I mean by that is that the camera exists within the film — the way the camera is looking at the characters. This felt very comfortable to me, because I felt that the camera’s existence became more apparent.
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