The 'Hereditary' and 'Midsommar' director on his favorite films, thematic influences and creating his most detailed set yet.
I've always wanted to make it. And of all the things that I was working on before, it was the one that reflected me the most. I would've made it first if I could've gotten the money, and that would've been a shame because I never would've had the resources to make it in the right way. It was just a different film at that point. If I madewas more cartoonish and arguably funnier, because it was really only concerned with being funny.
I don't know that I have anything to say about why those things go hand-in-hand, but I just agree with you. For me, the funniest jokes tend to be either the saddest or the most upsetting. I don't know. I guess that's gallows humor, right? I guess it's just in me. I don't pull up a chair and think like, "Okay, what's the theme?" Gradually, that kind of becomes clear, but it's not usually the impetus behind something, like, "I want to make a film about guilt." It sort of dawned on me, "Oh, all these ideas are all collecting around this thing." For me, it was really about ambivalence. A comedy about ambivalence.is your biggest scoped film to date.
One of the great joys of making this film was that it was an invented world. And so the task was to go into the details as deep as possible. With a couple of exceptions, every poster you see on the walls or in the streets was made from scratch. Those things were basically just [making] me laugh, so that was a really fun distraction in pre-production; to keep adding to this list of names for products, bands, fake movies, advertisements, buildings.
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