{"id":809,"date":"2014-05-04T09:41:53","date_gmt":"2014-05-04T16:41:53","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=809"},"modified":"2014-10-11T09:49:56","modified_gmt":"2014-10-11T16:49:56","slug":"james-gray-on-the-haunting-mournful-beauty-of-the-immigrant-exclusive-11","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/james-gray-on-the-haunting-mournful-beauty-of-the-immigrant-exclusive-11\/","title":{"rendered":"JAMES GRAY on the Haunting Mournful Beauty of THE IMMIGRANT – Exclusive 1:1"},"content":{"rendered":"

By:\u00a0debbie lynn elias<\/strong><\/p>\n

Writer\/Director James Gray\u2019s latest film, THE IMMIGRANT, is one not to be missed and, quite honestly, is the best work of his career thus far and will be difficult to top.\u00a0 Steeped in the rich immigration history of America in the early 20th Century, THE IMMIGRANT is set in 1921 New York where it revolves around the story of a young Polish Catholic immigrant named Ewa Cybulski, as she tries to navigate the treacherous waters filled with corrupt officials, hustlers and hookers, social taboos, cultural differences, over-crowded tenements and everyone trying to make a buck to stay alive in this \u201cland of opportunity.\u201d\u00a0 As part of Ewa\u2019s tale, we meet Bruno, a vicious wolf in not so lily white sheep\u2019s clothing, a charming and kind magician named Orlando, plus a cast of characters who make up this melting pot she desperately wants to call \u201chome.\u201d<\/p>\n

Starring Marion Cotillard, Joaquin Phoenix and Jeremy Renner as Ewa, Bruno and Orlando\/Emil, respectively, there\u2019s a haunting mournful beauty to THE IMMIGRANT that breathes life into the ghosts of the past, at times romanticizing, at times brutalizing, but always living.<\/em><\/strong><\/p>\n

I spoke with James Gray in this one-on-one interview as he talked about his own genealogy and stories of his grandparents that served as the basis for this story and then melding same with extensive research and historical fact in order to pay respectful homage to history and to the millions of souls\u00a0 that passed through the halls of Ellis Island looking for hope, opportunity and love.<\/p>\n

\"immigrant<\/p>\n

James, this is a film everyone should see as not only is it a beautiful human story, but it\u2019s a great historical story that 90% of the people in this country can probably relate to.\u00a0 Much of it is a touchstone to many of our own pasts.<\/strong><\/p>\n

I\u2019m gonna tell you a number which you may not know, which I did not know, which flabbergasted me, which is that 40% of the American population has at least one direct descendant that came through Ellis Island between 1900 and 1924<\/em><\/strong> which is the period between that building and that hall and all [those events].\u00a0 That is a staggering number.\u00a0 That\u2019s like 140,000,000 people or something like that, that have a connection to that island.\u00a0 The history of it is very textured, nuanced and sometimes very dark, but also has possibilities.\u00a0<\/em><\/strong> How do you ask for dramatic purposes anymore than that?<\/p>\n

I can\u2019t believe that no one has told a story like this until you.\u00a0 I know that your own personal background and family history inspired THE IMMIGRANT and I was particularly affected by it as my grandparents were immigrants from Germany, however, they came through Boston and were more privileged than most on their entry to this country.<\/strong><\/p>\n

This is also something I never knew but you probably do, sounds like you definitely knew it, that first class passengers didn\u2019t go to Ellis Island.\u00a0 That was the steerage people, the people who were in big trouble basically.\u00a0 Most of them did not get turned away.\u00a0 In fact, the United States outright rejected only 2%.\u00a0 There were about 30% who wound up getting delayed for a few days or a few weeks, maybe put in the infirmary, but most people did wind up getting into the country one way or another.\u00a0<\/em><\/strong> Which is why they closed the place basically for all intents and purposes in 1924.\u00a0 The island itself was closed in 1954, but when all these quotas went up in \u201824, they said, \u201cYou\u2019re letting too many people in.\u00a0 What are you doing!\u201d\u00a0 I became weirdly like an expert on Ellis Island.<\/p>\n

\"immigrant<\/p>\n

I\u2019m fascinated by your knowledge on it!\u00a0 That\u2019s one of the things that is so appreciated with the film.\u00a0 You\u2019re shooting within these actual halls where the immigrants passed through; not the pretty visitor\u2019s center that tourists normally see.<\/strong><\/p>\n

That\u2019s right.\u00a0 We built one thing.<\/em><\/strong>\u00a0 We had to build the cell that Ewa is in.\u00a0 It\u2019s an exact replica<\/em><\/strong>, basically, of the ones that are in there, but we couldn\u2019t shoot in the ones that are there now because they\u2019re glassed off.\u00a0 They\u2019re basically preserved.\u00a0 What we did was we just copied it exactly, that place where she\u2019s put for the night.\u00a0 But you are quite right.\u00a0 We did shoot in the great hall and in a couple of hallways there.<\/em><\/strong>\u00a0 The thing that one doesn\u2019t realize is that in some respects they treated the immigrant population in a way that\u2019s better than we do now.\u00a0 I did not invent the concert with \u201cCaruso Sings\u201d.\u00a0 That\u2019s based on actual history.\u00a0 <\/em><\/strong>And that\u2019s remarkable.\u00a0 They had concerts at night for the people who were there, with the best entertainers of the day.\u00a0 And that\u2019s amazing to me.<\/p>\n

In your research, and somewhere in the recesses of my mind I recall stumbling across this myself, did you find that when immigrants came into the country, the government wanted to put America\u2019s best foot forward so they would have \u201cA\u201d list entertainers and they would feed the people, they would entertain them, but also, it served as a transitory mechanism for what these individuals were missing from home?<\/strong><\/p>\n

You\u2019re right.\u00a0 That\u2019s right.\u00a0 I\u2019ve not talked to anybody who knows that until you. You are so right.\u00a0 And I learned it only by doing the research.\u00a0 The very building that they made, that beautiful Beaux Arts building which they built in 1900, started in 1897.<\/em><\/strong> [It was] the first building that was on [the island].\u00a0 That was built in 1892 and was this wooden dumpy looking place and it burned down in 1897.\u00a0 When they decided to rebuild it they said, \u201cOkay, well we\u2019re gonna build something that is truly magnificent, that says to the world, \u2018When you come here, look at what you might be able to do!\u2019 So the space itself is that room, what they call the Registry Room, this enormous magnificent space with the Gustavino tiling and all that stuff, it was really meant as a display of saying, \u2018We hope you\u2019re happy that you\u2019re here.\u00a0 Look at what you\u2019re gonna be able to do.\u00a0 Look at the magnificence of it.\u2019<\/em><\/strong><\/p>\n

\"immigrant<\/p>\n

While I am enthralled that you brought that forth and captured that, you then also deliver the harsh realities of where Ewa and Bruno live, the tiny cramped little quarters, the little rooms and the dinginess and the seedier side of surviving.<\/strong><\/p>\n

The apartment that you\u2019re talking about<\/em><\/strong> and it\u2019s funny that you say \u201cthe cramped quarters\u201d because yes, they were, but we built that on a sound stage<\/em><\/strong>.\u00a0 The first plan that we had was that we would shoot in an actual tenement.\u00a0 So I brought the crew to the Tenement Museum on Orchard Street<\/em><\/strong> . . . The history of it is incredible.\u00a0 This woman bought the place.\u00a0 She bought a row of buildings in 1980.\u00a0 She went in there and she realized that the buildings had been condemned in 1937 and the doors had basically been shut and that was it.\u00a0 The place was like a history lesson<\/em><\/strong> and she recognized that.\u00a0 And she made the Tenement Museum so when you walk in there, it\u2019s a walking tour.\u00a0 The first tenement apartment is designed as though it were 1890, the second 1915 and the third 1937 when the building was condemned.\u00a0 You do this walking tour into the place and it\u2019s just fantastic.<\/p>\n

\"immigrant<\/p>\n

I took the crew\u00a0 – because I\u2019m a crazy person – saying, \u201cWe all have to see this space.\u00a0 This is where Bruno and Ewa would be.\u201d\u00a0 So we went in there, it\u2019s on Orchard Street on the Lower East Side and the crew looked at me and said, \u201cAre you kidding?\u201d\u00a0 I said, \u201cWhat do ya mean?\u201d\u00a0 They said, \u201cHow are you gonna fit a camera in here?\u201d\u00a0 8 feet x 10 feet rooms for five people?\u00a0 The ceiling would be 8 feet.\u00a0 I mean, crazy.\u00a0 So what we did was, we rebuilt the tenement exactly except we would move a wall so that if we needed to put the camera somewhere we just moved the wall behind you or we could move stuff around.<\/em><\/strong>\u00a0 If I shot in the actual tenement there was no place for the camera to be.\u00a0 You realize what a struggle [for the residents] because those tenements were tiny, I mean tiny.\u00a0 They did \u201cfast and loose\u201d with the law.\u00a0 For example, there\u2019s those weird windows that are in the middle of the apartment that divide one room from the other.\u00a0 So, you say to yourself, \u201cWhy do they have a window there?\u201d\u00a0 Well, they were called \u201cTuberculosis Windows\u201d<\/em><\/strong>.\u00a0 The law said that you have to have a window in the apartment because people would have tuberculosis and they\u2019d want to cough or whatever.\u00a0 So they built windows in the apartment.\u00a0 It didn\u2019t help anybody.\u00a0 It was a certainly a violation of the spirit of the law.\u00a0 They are very unique spaces<\/em><\/strong>.\u00a0 By the way, now they probably sell for like $2 million.<\/p>\n

I\u2019ve seen rooms like that used in films over the decades and it\u2019s a beautiful decorative touch but I had no idea it had a purposeful origin.\u00a0 Fascinating piece of history.\u00a0 James, knowing that THE IMMIGRANT began based on stories told by your grandparents, how difficult or cathartic was it writing THE IMMIGRANT and bringing it to life?<\/strong><\/p>\n

I think it was a strange thing because what I did was I took all of the stories of my grandparents and essentially just put them in the movie.<\/em><\/strong>\u00a0 The whole thing that [Ewa] says in the church where she says [as he does a Polish accent], \u201cThe ship is dirty and we are all together likes animals\u201d, all that stuff is basically just what my grandmother told me about the experience.\u00a0 Not understanding how to eat a banana?\u00a0 Biting it into the skin [was] from my grandmother.\u00a0 My grandfather talking about seeing parents getting their head chopped off by the soldiers [in Poland], and all that stuff, it all just wound up in the movie.\u00a0 In fact, my grandparents\u2019 picture is in the movie.\u00a0 It\u2019s in the locket that [Ewa] is looking at.\u00a0 That\u2019s them.<\/em><\/strong>\u00a0 And, of course, the actress that plays the sister on the other side.\u00a0\u00a0 The whole film was really meant as a kind of personal honorary.<\/em><\/strong>\u00a0 I have to say, at times I was filled with a bit of regret – they died in 1982 – not really taking the time to ask more questions.\u00a0 At the time I was 13 years old and I thought I was \u201ctoo cool for school\u201d and I wasn\u2019t really paying attention to them.\u00a0 In fact, I\u2019m ashamed to admit this, I didn\u2019t really like them very much.\u00a0 I thought they were squares or something.\u00a0 I don\u2019t know what my problem was. [laughing]\u00a0 But now it\u2019s a real regret I have.\u00a0 It\u2019s a central regret, not finding out more about that history.\u00a0 The rest of it, this whole idea of the corrupt Ellis Island official and then the Caruso concert, all of that came from the research on Ellis Island itself.<\/em><\/strong>\u00a0 What you might want to know, by the way, is that there is a research library in Ellis Island, in the building.\u00a0 It\u2019s called the Bob Hope Memorial Library and they have unbelievable resources of photographs and research materials.\u00a0 It\u2019s great.<\/p>\n

\"immigrant<\/p>\n

We tried to make up nothing.\u00a0 We tried to base it all on something<\/em><\/strong>.\u00a0 Like the theatre.\u00a0 That theater where Bruno [Joaquin Phoenix] has his kind of really pathetic show, that\u2019s based on a real theatre called The Hay Market.<\/em><\/strong>\u00a0 What would happen is the women would come out and they would sort of parade around in their costumes into the audience.\u00a0 It was a pretty small venue with these ridiculous shows where you would fantasize about, say, \u201cThe Queen of Arabia\u201d [in his best ringmaster voice] and all this stuff , and Joaquin\u2019s whole monologue later in the park where he\u2019s saying, \u201cLady Astor!\u201d or whatever, that\u2019s all from a Hooker\u2019s Handbook that we found from 1915.\u00a0 So all that stuff we tried to base on real stuff as much as possible.<\/em><\/strong><\/p>\n

Your visual palette adds so much along with the performances.\u00a0 Marion Cotillard is beyond reproach as Ewa, as is Jeremy Renner who adds this beautiful lightness to the structure as Orlando\/Emil.\u00a0 But the visual palette that you and cinematographer Darius Khondji developed is mesmerizing.\u00a0 It\u2019s as if each frame is dipped in a teabag of naturalism and reels us in, takes us back.\u00a0 \u201cWe are there\u201d as Walter Cronkite would say.\u00a0 How did you go about developing this visual bandwidth?<\/strong><\/p>\n

Yea, [Darius Khondji] is pretty great.\u00a0 The first thing we did was we started reading about the area.\u00a0 What you learn is that the amount of coal and wood that was burned into the atmosphere would just shock you.\u00a0 The air was incredibly dirty and dense with particulate and you realize when you read that that the sun didn\u2019t really make its appearance<\/em><\/strong>.\u00a0 Probably by 1923 or \u201821 they were rigged with electricity, probably right after WWI they started to get electricity, but they almost exclusively still relied on gaslight and gaslight gives off a kind of yellow ochre or burnished yellow kind of ochre hue<\/em><\/strong>.\u00a0 So those two ideas, those two notions, the one was the pollution in the air, the other was the ochre look of a gaslight, were the first two big steps we took in establishing the color scheme of the movie.\u00a0 Then we looked at these things called \u201cautochromes\u201d which are these color photographs from 1905, 1910.<\/em><\/strong>\u00a0 They\u2019re not actually color film stock.\u00a0 What they are is they are black and white photos where they are printed on panes of glass and then a different dye is applied to the panes of glass so that when they\u2019re married, the photo looks like color.\u00a0 It\u2019s sort of a fake color photograph.\u00a0 We took those and tried to use those as a visual reference.<\/em><\/strong>\u00a0 Then, of course, the painters from the period<\/em><\/strong>, which would be the school of painters called \u201cThe Ashcan School\u201d – Everett Shinn, William Glackens, John Sloan, George Bellos.\u00a0 Edward Hopper was one of them but he was a little bit later.\u00a0 He came into his own only in the 40’s really.\u00a0 We didn\u2019t look at him too much.\u00a0 We looked at these other guys.\u00a0 They always painted a sort of New York urban life in a very authentic way.\u00a0 So these were the core principles we used to establish the look of the film.<\/p>\n

\"immigrant<\/p>\n

Something else that you and Darius also did that I found particularly emotionally metaphoric is that because everything is so claustrophobic, especially in the apartments, whenever you have Jeremy Renner\u2019s Orlando\/Emil and\u00a0 Marion Cotillard\u2019s Ewa together, the camera slowly widens out, metaphorically giving Ewa some breathing room from under the oppression of Phoenix\u2019s Bruno.\u00a0 That is captivating to watch.\u00a0 Was that purposely designed going int the shoot or did that develop as you were filming?<\/strong><\/p>\n

We talked about that. [Emil] is the one shred of hope in the film for Ewa and it\u2019s a big deal<\/em><\/strong>.\u00a0 When he gives her the rose and of course then later in the apartment itself, we kind of changed the color scheme and sort of lightened it up a bit<\/em><\/strong>.\u00a0 Then also on the stage, we had the curtain be this kind of curtain with stars as opposed to the other backdrops to indicate or imply endless opportunity.<\/em><\/strong> [Emil] talks about California and the sun is always shining there.\u00a0 There\u2019s a kind of a hope<\/em><\/strong> for her and that the visual aspect would embrace this idea<\/em><\/strong>, that was of course there from the very beginning.<\/p>\n

It was magical to see that.\u00a0 As I was watching, I could feel my own spirit being lifted with hers every time you\u2019d have the two of them together.\u00a0 On the flip side, every time you\u2019d then put Phoenix\u2019s Bruno with her, the camera would come in even tighter, the palette would get a little darker.\u00a0 It was so fluid, so emotionally palpable.<\/strong><\/p>\n

Oh, that\u2019s terrific. I\u2019m so happy you feel this way.\u00a0 It seems like you understood the goddamn thing completely!\u00a0 It\u2019s thrilling.<\/p>\n

\"immigrant<\/p>\n

I was mesmerized watching the film.\u00a0 Fixated emotionally and visually.\u00a0 A fully sensory experience.\u00a0 Given the very personal nature of this story, what did you take away from this experience of bringing THE IMMIGRANT to life, or learn about yourself in the process?<\/strong><\/p>\n

[long hesitation]\u00a0 That no one is to be looked down upon.\u00a0 No one is beneath us.\u00a0 No one is not worthy of love.\u00a0<\/em><\/strong> It\u2019s an important idea, I think.\u00a0 Everybody can change.\u00a0 Everybody can be redeemed, even if you think they can\u2019t.\u00a0 It\u2019s important for yourself as well as for others because you have to forgive yourself of the things you\u2019ve done wrong in your life.\u00a0 That\u2019s what it means to me.\u00a0 That\u2019s what motivated me in the film and what I still hold on to.<\/em><\/strong><\/p>\n

#<\/p>\n

5\/4\/14<\/p>\n","protected":false},"excerpt":{"rendered":"

By:\u00a0debbie lynn elias Writer\/Director James Gray\u2019s latest film, THE IMMIGRANT, is one not to be missed and, quite honestly, is the best work of his career thus far and will be difficult to top.\u00a0 Steeped in the rich immigration history of America in the early 20th Century, THE IMMIGRANT is set in 1921 New York […]<\/p>\n","protected":false},"author":2,"featured_media":811,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[153],"class_list":["post-809","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-james-gray-on-the-haunting-mournful-beauty-of-the-immigrant-exclusive-11"],"yoast_head":"\nJAMES GRAY on the Haunting Mournful Beauty of THE IMMIGRANT - Exclusive 1:1 - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity 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