{"id":19194,"date":"2017-04-16T11:12:11","date_gmt":"2017-04-16T18:12:11","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=19194"},"modified":"2017-04-16T11:12:48","modified_gmt":"2017-04-16T18:12:48","slug":"joseph-cedar-embraces-the-norman-within-exclusive-interview","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/joseph-cedar-embraces-the-norman-within-exclusive-interview\/","title":{"rendered":"JOSEPH CEDAR embraces the “Norman” within – Exclusive Interview"},"content":{"rendered":"

It\u2019s daunting enough to write and direct your first English-language film and have it set in modern day New York as opposed to a world and region with which one is intimately familiar. But then you cast Richard Gere in role which may now finally bring him that all elusive Academy Award, and surround him with the talents of Michael Sheen, Dan Stevens, Steve Buscemi, Charlotte Gainsbourg, Hank Azaria, and Lior Ashkenazi, Israel\u2019s favorite leading man. And on top of that, you then weave a beautiful and indelible tapestry of character study and human nature, filled with relatable characters and situations that center around a lonely, quirky, good-hearted man named Norman Oppenheimer and you call that film NORMAN: THE MODERATE RISE AND TRAGIC FALL OF A NEW YORK FIXER. And finally, you release it into the world for all to see and enjoy. This is exactly what writer\/director Joseph Cedar has done and movie-goers are all the better for it. From performance to production, NORMAN is worth its weight in gold.<\/p>\n

\"\"
Joseph Cedar, setting a scene for NORMAN<\/figcaption><\/figure>\n

Norman is what\u2019s known as a \u201cCourt Jew\u201d or \u201cfixer.\u201d He knows the right people and can get things done (sometimes). Typically missing the mark and seen by many as more of an annoyance than an asset, the tables turn when Norman befriends Micha Eshel, the Deputy Prime Minister of Israel, buying him a $1200 pair of shoes. Several years later when Eshel is elected Prime Minister, he remembers Norman and his kindness, catapulting Norman into the levels of adoration and glad-handing he had never known. But as we all know, the higher one climbs, the harder they fall.<\/p>\n

I last spoke with Joseph Cedar telephonically several years ago when we discussed his film \u201cFootnote\u201d, a 2012 Academy Award nominee for Best Foreign Language Film. Set in the world of academia and Talmudic studies with a father and son at opposite ends of the spectrum, \u201cFootnote\u201d is a poignant, witty and well crafted film that employs exemplary cinematography and visual metaphoric reference set to a score that soars with lyricism and emotion, set the tone for the non-Hebrew speaking audience while showcasing the fun and foibles of the human condition, all to a richly textured and satisfying result. Cedar maintains that level of excellence and cinematic construct now with NORMAN.<\/p>\n

\"\"
Richard Gere as “Norman Oppenheimer” in NORMAN<\/figcaption><\/figure>\n

On finally meeting face-to-face, I find Joseph Cedar charming, with a humility and tinge of shyness that is warm and refreshing. \u00a0As we sit down to talk about everything NORMAN, including the rigors and joy of doing a press tour when Richard Gere is your leading man, the mood is light, starting off on a humorous note as Cedar acknowledges the experience as being \u201c[H]arder than it seems! I wasn\u2019t aware of how difficult it was to talk all day. [laughing]\u201d Although experienced in doing press, \u201cIt\u2019s different with Richard. It\u2019s many more [interviews] and it\u2019s different. But it\u2019s good. That\u2019s why a movie star is a movie star. People are interested.\u201d<\/p>\n

Interested is an understatement as one look at NORMAN, and one is swept into his world, thanks in large part to the work of cinematographer Yaron Scharf. Having collaborated previously on \u201cFootnote\u201d, Cedar and Scharf are a well-oiled machine. Using cinematography as a storytelling tool, the two make great use of focal point and zoom, but also parallel split-screen designs a la Ross Hunter but which here are melded as one as opposed to visible scene splitting. The result is mesmerizing and flawless. \u201cWe tried to design the sets so that Norman is invading someone else\u2019s space. Each one of those compositions is ultimately that it\u2019s Norman finding a way into someone else\u2019s world uninvited. The phone allows him to do that.\u201d Key is that Cedar and Scharf \u201cstoryboarded each one of those frames. There was no other way to do it. It either requires set design that allows for two things to be shot at once, or it requires shooting half of the scene taking into consideration what the other half will look like. So it had to be very carefully planned.\u201d<\/p>\n

As we talk about specific scenes, Cedar\u2019s face lights up. \u201cIt\u2019s funny. Most things that you work on and really spend a lot of energy and sometimes money on the details go unnoticed. And that\u2019s the way it should be; a film has its plot and that\u2019s the center. But some of these things required such careful thought. I\u2019m glad someone sees the work! I always feel bad for the special effects designers in big action movies because if the movie\u2019s working you\u2019re following this amazing ride that is constructed of thousands and thousands of shots that are really complicated to do. And you only know how complicated they are once you see how something that isn\u2019t that complicated is actually complicated! So I feel bad for the special effects people who are kind of taken for granted when a movie works.\u201d<\/p>\n

\"\"
Joseph Cedar directing Richard Gere and Steve Buscemi in NORMAN<\/figcaption><\/figure>\n

But without a story and engaging characters, NORMAN wouldn\u2019t exist. Cedar excels at character development and interpersonal relationships, especially when set within the Jewish heritage. No detail is too small which just makes the film even more interesting. The story of NORMAN is something inherent to Cedar\u2019s culture and heritage. \u201cI\u2019m attracted to certain elements and certain kinds of characters. It\u2019s so difficult to get a movie off the ground and it requires a commitment that has to be grounded in real fascination with the material. . .[E]verything I have dealt with had to stand that test and whether I could spend a few years examining something and feeling fulfilled by ultimately being able to share some of those observations and insights with an audience.\u201d<\/p>\n

Cedar readily admits, \u201cIt was hard for me to write this story. I spent more time on this script than on others. It\u2019s hard. Every screenplay has it\u2019s challenges. This was the first screenplay I wrote in English and the first story I wrote outside of where I grew up. It was hard for me to put something together and it was hard for me to feel confident about it even after it already existed. I found myself re-working it even after I would have in Israel already sent it out.\u201d<\/p>\n

\"\"
Richard Gere as NORMAN<\/figcaption><\/figure>\n

However, although there is a script on paper with characters full fleshed out, it was working with Richard Gere that really brought the character of NORMAN to life. \u201cNorman is extremely familiar to me. I know Normans and I sometimes feel like I\u2019m a Norman. But until you have to discuss a scene or a way of thinking with an actor who has to embody that on screen you don\u2019t really fully understand anything.\u201d Working with Gere over a period of a couple of months before shooting began, \u201cforced me to understand Norman\u2019s operating system. What he does. Why he does it. Not only why he does what he does in a specific scene, but why he needs to be a part of other people\u2019s affairs, which is what most people are aggravated by or resent or are deterred. It\u2019s actually a survival thing for him. It comes out of his loneliness. So understanding that is what happened with my conversations with Richard and it ended up shaping this character a little differently than how I first understood him. Richard asked questions that forced me to sometimes re-write a scene and sometimes just find an explanation that I otherwise wouldn\u2019t have thought I needed to explain why a certain action was happening.\u201d<\/p>\n

Of course, this leads to the big question. What led Cedar to Richard Gere for the role of NORMAN? With the six degrees of separation theory coming in to play, one of the NORMAN producers, Oren Moverman, who had previously worked with Gere in last year\u2019s \u201cTime Out of Mind\u201d in which Gere gave a tour de force performance, made the introduction. As Cedar tells it, \u201cRichard made this movie possible. His agreeing to be NORMAN got the financing going. Of course, I was extremely happy that he wanted to be NORMAN.\u201d<\/p>\n

\"\"
Michael Sheen, Lior Ashkenazi, Richard Gere (l. to r.) in NORMAN<\/figcaption><\/figure>\n

With Gere on board, \u201cTogether we found the challenges that were interesting to him and fascinating to me to see how Richard Gere can do something that most people think is the exact opposite of who he is. It\u2019s so different than anything I had seen him do before. That in itself was a challenge that I was excited about. Richard is a great actor. Every actor at the end has the roles that he was offered or he generated. There\u2019s a lot of luck in an actor\u2019s career and not all actors get the chances that they deserve. Some actors have tremendous skill but they\u2019re never offered the role. This is a role that is very different than anything Richard has done before. It\u2019s as if he was taking out this set of tools, years of experience and understanding of what he can do, and then a character that he\u2019s never worked with, created a great experience on the set.\u201d<\/p>\n

Going toe-to-toe with Gere\u2019s NORMAN for much of the film is Lior Ashkenazi as Micha Eshel. Written specifically for Ashkenazi, who starred in Cedar\u2019s \u201cFootnote\u201d, \u201cLior is as close as Israel has to a classic leading man. He\u2019s an average Israeli, but a little bit better, or a little bit more charismatic or maybe a lot more charismatic. He\u2019s a muse for me. I love thinking of what would be a great role for him to play.\u201d As a Deputy Prime Minister to Israel and then Prime Minister, the role is perfect for Ashkenazi who, like Gere, gets to play, shape and mold the character as life, circumstance and politics change.<\/p>\n

As the film progresses and we learn more about NORMAN, one becomes increasingly aware of his constantly juggling a multiplicity of balls, something which keeps the audience on its toes wondering if, when and how the juggling act will end. With so many of these balls in the air and their interweaving within the story construct, one has to wonder if Cedar ever thought about cutting back on Norman\u2019s juggling act. As Cedar analyzes the character, it becomes clear the answer to that question is no, at least not consciously.<\/p>\n

\"\"
Richard Gere and Lior Ashkenazi (l. to r.) in NORMAN<\/figcaption><\/figure>\n

\u201cI think that\u2019s Norman\u2019s way of \u2018keeping his head above water\u2019, as he says. If someone is just doing one thing and that thing fails then he has nothing. Since Norman is failing with most of what he\u2019s doing he needs at least eight different things for him to at least suspend the acknowledgment of failure enough to try something else. So having all those balls in the air is his technique. Still water is death. If the water is moving something is happening. And that\u2019s Norman\u2019s notion. As long as I can keep things going, if I can mix things up, even it complicates things to an unnecessary degree, as long as there\u2019s some reason why people are either angry at me or need me or something, then I\u2019m alive. Some people walk next to a complicated situation and say \u2018I don\u2019t want to deal with that.\u2019 Norman sees a complicated situation and goes, \u2018Alright! This is exactly what I need. This is where I may be needed, because there\u2019s a complicated situation.\u2019 It\u2019s like a lawyer doesn\u2019t have any function when there\u2019s no conflict. Norman doesn\u2019t have a function when everything is simple. He\u2019s looking for the complications.\u201d But what kind of complications does a character like NORMAN give Cedar as a screenwriter?<\/p>\n

\u201cAfter a screenplay is written everything seems to feel organic. You read a screenplay and say, okay. One scene leads to the next to the next and it all makes sense. And if a story is good, you never ask yourself were there other options or were there story ideas that led nowhere. But the process of writing has many story ideas that lead nowhere. At the end, if everything comes together it\u2019s because I tried about 50 different other story ideas that led me to nothing, to dead ends. The result feels like it crystallized and everything has a purpose in the story, but that\u2019s not where it is in the process. In the process, every scene seems like it\u2019s another problem that needs to be solved. And if it\u2019s a good scene then you don\u2019t know what the solution is. There\u2019s nothing in this particular project that was obvious. Everything had to be invented in a way that didn\u2019t fit any kind of template.\u201d<\/p>\n

\"\"
Richard Gere and producer Oren Moverman behind the scenes on NORMAN<\/figcaption><\/figure>\n

Often overlooked by many is the film\u2019s score. Not so with NORMAN. The music speaks volumes with a bit of whimsy that somewhat mirrors Norman\u2019s antics but it\u2019s also steeped in the sounds of traditional Jewish folkloric music. Composed by the Japanese composer Jun Miyake, even Cedar is surprised that he has a Japanese composer writing music for a film and character with strong Jewish roots. \u201cHe was introduced to me because we edited with a guide-track that Kurt Weill Composed with \u2018Threepenny Opera\u2019 and we were looking for a contemporary Kurt Weill; someone who has the ability to create pathos or a size of sound like Kurt Weill, and at the same time have this wink of \u2018I\u2019m not taking myself too seriously\u2019. You always feel that there\u2019s something humorous about it even though it is emotional or dramatic. This is Jun\u2019s style, that\u2019s what he does. I think he found a way to touch Norman\u2019s soul even though there\u2019s nothing culturally that he identified. He came from a Japanese sensibility and he gave Norman a Jewish tune which is remarkable to realize. There is something that is universal about Norman\u2019s soul. It\u2019s not really that culturally specific. The world he\u2019s in is specific. But the soul, his motivations, can be channeled by a Japanese composer.\u201d<\/p>\n

Excited that he was able to pull out more of his directorial tools and elevate his own game working with talents like Gere, Ashkenazi, Sheen, Scharf and Miyake, Cedar is enthusiastic in his praises for the team. \u201cEveryone I worked with on this film was really good at what they did. That is definitely true about the cast. I was lucky enough to work with not only excellent actors, but actors in the point of their career where they\u2019re doing their best work. I felt extremely lucky about it and that was extremely exciting. I came to set everyday knowing that what will happen will be better than what\u2019s on the page.\u201d<\/p>\n

\"\"
Dan Stevens, Harris Yulin, Steve Buscemi (l. to r.) in NORMAN<\/figcaption><\/figure>\n

Joseph Cedar shows us that NORMAN transcends any one culture or any one person. There is a universality in NORMAN. And as Cedar himself now says, \u201cNormans are vital to so many things. . . Embrace the Norman in you!\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s daunting enough to write and direct your first English-language film and have it set in modern day New York as opposed to a world and region with which one is intimately familiar. But then you cast Richard Gere in role which may now finally bring him that all elusive Academy Award, and surround him […]<\/p>\n","protected":false},"author":2,"featured_media":19198,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3626,5],"tags":[3494,1489,5646,3729,5645,1986],"class_list":["post-19194","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interview-exclusives","category-interviews","tag-debbie-elias","tag-exclusive-interview","tag-joseph-cedar","tag-moviesharkdeblore","tag-norman","tag-richard-gere"],"yoast_head":"\nJOSEPH CEDAR embraces the "Norman" within - Exclusive Interview - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta name=\"robots\" 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