I suppose theres always the risk of trying to do it again, Anderson says.
But it seemed crazy not to take the opportunity.
ENTERTAINMENT WEEKLY: The movie was only recently officially titled.
Credit: Laurie Sparham/Focus Features
It was the name of the production company, and it really did seem to fit and work.
But we were kind of wondering if there was something else that would work as well.
No, it was not a choice.
Laurie Sparham/Focus Features
This was the first film in a while that we finished and not had leisurely editing period on.
We finished shooting in April.
The film, quite simply, is not done.
How long have you been toying with this idea?Its very new.
Its a new idea, really within the past few years.
Our characters become something very different.
Usually, its love that does that.
Knowing your work, I cant imagine this being a traditional love story.Its not your standard love story.
Its more peculiar for sure.
A lot of directors have tried and failed to makeRebecca.
Im probably next in line, but its a different story.
Im a large aficionado of those large Gothic romance movies as the old masters might do them.
What I like about those kinds of love stories is that theyre very suspenseful.
A good dollop of suspense with a love story is a nice combination.
I needed a man for this story.
I needed a woman and another woman.
Thats good because then youve got something you better crack and to figure out how to crack.
There were so many beautiful dresses that were made that are still referenced and spoken about and admired.
I love the idea on a pure style level being able to have that around your story.
The more I saw the pictures of this era, it was just so much contagious.
It was real syrupy, to get into that.
Its really easy to look good.
I just made a movie with all of these dirty hippies with facial hair and stuff.
Its like, Oh, god.
Lets do something with fancy people.
I was actively pursuing that, saying, We have to do this.
We have to get back together and make a film.
I couldnt quite tell you which came first.
If youre hoping for something, you’re able to start to will it into existence.
He was receptive to it, so that was a good start.
Then the process of writing it was really the two of us together, quite honestly.
Id give him things as I was writing.
Did you discuss his plans to retire during the filming?No, it was never discussed.
I think hes been saying that hes wanted to do it for a long time.
I do remember him telling me that he really thought about retiring after I think it wasThe Boxer.
Hopefully, its something that hell reconsider.
In the meantime, hes left it all out on the field, I like to think.
Was a part of you afraid that you broke Daniel Day-Lewis?
[laugh] No, no.
Basically, in England, we were able to sort of work without an official director of photography.
I know how to point the camera in a good direction, and I know a few things.
But Im not a director of photography.
Is there no credit on the film?No, there is no credit on the film.
I could veto Mike, I guess, but he held a lot of the keys.
It was a real package like that.
It was a really easy way of working.
You made movies exclusively in the United States, most of which focus on California.
Did storytelling outside of that framework change things for you?I havent thought deeply enough about that yet.
The way that Ive thought about it is more on a practical level.
It was kind of exciting.
In terms of the story, I was supremely aware that I am a Californian.
