‘I Care a Lot’: The Inspirations Behind the Movie

Rosamond Pike recently earned a Golden Globe for her portrayal of Cunning, a completely unadulterated sloppy Gronson Netflix thriller “I care a lot.” Marla cleverly, confidently played the game of the system to get older people out of her savings – until her latest victim’s son (Peter Dinklage) started paying attention. It is a dagger of a performance that is a piece with writer-director Jay Blakeson’s film, A. “Cunning, barbaric mischief” The bold visuals and sonic likes are dominated, and the humor is as bright as Marla’s outfits.

In a video call from his home in London, Blakeson discussed some photographs, songs and films that inspired him to work “I care a lot.”

like Pike marla, The title character of Pam Griar, is a smart master of Double Cross and makes for a highly entertaining crime film. “This is a film in which I have done a lot of talk with both of my cinematographers. [Doug Emmett] And my production designer [Michael Grasley], ”Blakeson said. “It felt like a nice touchstone, tonight, where we can end.”

As a flight attendant, Jackie Brown spends a considerable part of the film in her uniform. “with him That blue suit She said she wears it now and again and you will see that against this bright green wall, ”Blakeson said. “The joy I get from it is similar to the joy I get from watching those Goddard films where you have people in bright yellow or bright red or bright blue against a neutral background, and they are really like that. Technicolor / Exit. Kodachrome Palette. In ‘Jackie Brown’, she has a job where she always wears the same clothes, but you get the iconic look that she works throughout the film. And I Really wanted to make Marla feel iconic and memorable as a character – a very cinematic character rather than a realistic character. “

A major influence on the visual language of “I Care a Lot” is acclaimed Belgian Photographer. “It’s street photography, more or less, but the real world is really colorful and really interesting,” the director said. “There is a picture where the yellow lines are really bright and one has to walk down the street wearing a bright colored coat. It looks orchestrated, but it is not. Our world is colorful, we don’t see it just because we don’t stop it and watch it a lot. “

Marla benefits herself from those who do not see, which feeds her confidence. “His office has big windows and you can just look inside; He knocks home in a yellow suit in a blue suit, ”Blakeson said. “She’s not hiding in a dark corner – she’s doing it in the open.”

While Blaxson was listening to music in the gym PJ Harvey’s second album title track (1993) really hit him. “The beginning of the song is very quiet, so you’re trying to listen to it, and suddenly it goes into the chorus and it blows your head off,” he said. “I started thinking about someone trying to kill Marla, and she is not going to die. The section in which she runs underwater from the car was written in my head while I was listening to ‘Rid of Me’. Just a basic thought, ‘I’m not going away, I’m not going to get beaten up.’ When she gets out of the water, she screams – it’s like singing with ‘Ride of Me’.

Pike asked the music-loving director to put together a list of songs Marla would have listened to as a teenager, and he included several 1990s rock titles from the bands Ministry. Blakeson said, “He sent me a text saying, ‘I think I just had to catch a fast pace because I was listening to your playlist.”

A longtime fan of the “Double Indemnity” and “Apartment” director, Blakeson sang his 1951 pitch-black film about a corrupt journalist Chuck Tatum (Kirk Douglas), who exploits an accident in which A man is trapped in a cave, even prolonged ordeal. Tatum said, “He was very mercenary, would act with such disgusting cunning for his own benefit.” “Her ambition is driving and she is just a passenger.”

This, of course, is very well-liked to Marla, whose ruthlessness and fearlessness arises entirely in a confrontation with Dinklase’s character. Blakeson said, usually in films where the woman cries and begs for her life, but Marla sees it as an opportunity to give her elevator pitch to a rich person. “There is a bit in Ace in the Hole where he is trying to convince the guy to go underground, and he is lying because he can actually get him out really quickly. That kind of manipulation of people is really interesting to me. “

Another photographic effect was Careful staging of american artist. “There’s a sense of spiral, but it’s dramatic and melodramatic,” Blakeson said. “There is a tremendous irrationality about it that we want to bring to this [film] A little bit. Like jennifer [Dianne Wiest] Goes to the care home with those muted colors – all these nurses offer their chocolate and smile at seeing her, it seems strange and untrue. A few moments of the scene with Peter and Rosamund are also locked in the mine. The lighting is blue and red and jiallo-like [films] or something else. We really wanted to take this forward. “

This German electronic band began as an underground passage of the so-called cosmic rock before it burst into the mainstream with its dreamy, repeated contributions to 1980s films. “risky business” – Where this track appears.

“‘Love on a real train’ makes me think of the future and the past at the same time,” Blakeson said. “You think there’s ambition: if we join the American dream, the world is going to be a better place somehow.”

This sentiment often echoes for Mark Canham’s pulsed electronic score “I Care a Lot”, which accompanies the menacing underdone. While working on the film, Kanham, composer, and Blakeson brought in minimalist composers Philip Glass and Steve Reich, with tracks such as in the early 1980s Laurie Anderson’s “O Superman,” And more recent abstract electronic work by Apex Twin and Orbital, but Tangerine Dream was a constant. Regarding “risky business” Blakeson said, “There is a very dreamy quality, indifferent and tortured, but also cold and calculating, and it is a film about capitalism and business.”

“Obviously, this is a very different version of the business than ‘I Care a Lot,'” he said.

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