martha marcy may marlene

Sean Durkin is reserved, messy hair and in dire need of a teaspoon of milk. Early on the morning of Sunday, just hours after the adults and the party-packed Hollywood bigwig delivered Fox Searchlight to celebrate the decisive victory of the first major feature film. He is one of the most important names in the Toronto International Film Festival, but at this moment, because everything is exhausted and a bit mysterious, and washed more present than the past.
Which is the right thing.
Milk purchased and dropped the tea, and clear things up, at the right time to go into the world, foggy confusion displayed in the "Martha Marcy Marilyn May." Writer and director, Dworkin, in turn, took the creative lead collaborative youth film strip border, and production company with his friends began film school at New York University, and Antonio Campos and Josh Mond. A few years ago from the school, and the trio worked to support all the other efforts in the film industry where, with Campos already earning raves for the film in 2008, "afterschool."
"Martha", though, is a real breakthrough for the group. And loved in the festival, and soon claimed by the Scouts and the promotion of heavy particular, show the company's intention in its haunting narrative of a time shift, for a young woman suffering from paranoia, and struggling to adjust after breaking free from the small municipalities and the worship goes to live with her sister's abductor. Elizabeth Olsen, in a breakthrough performance, which establishes a presence far more significant for being the younger sister of that "Full House" twins, and plays the title character Ransacked, which is a confused sense of identity as the tongue twisting title suggests marquee.
Spoke with the Huffington Post, Dworkin, and Campos Monde about the film and the artistic integrity and inspiration of the real life of star and actress, who shoots parallel to their own country.
HuffPost: This film is something you have worked for a while - I was brought to the festival as a short. What do you want to make this so badly that stick with it through this long process?
Monde: Because Sean wants to make it. For us, it was when it was an idea, and it is.
Durkin: I did not find such, you have the idea that "Oh, I have to make this." It's like that at all. I was like, oh, that's great, let me start to write. And then start typing and you're like, oh, it works, let me develop this. We decided just to make a movie and we do that and we do it. There is never really the debate.
Monde: We were shooting a year ago at this time. He was crazy.
HuffPost: Why is the movie about a girl in the cult? Why do you want to tell this story?
Dworkin: In one day I was like, oh, I thought it would be cool to make a film about a cult. Then start reading. One of the first things that I have read and seen pictures of people before and after, before they went in what looks like, what seemed to be when it came out. Actual shift in their faces and bodies. And just wondering how this happened, what was the process of converting to such person.
HuffPost: What is the shift that I see?
Dworkin: physical transformation only, it's amazing. If you look, they look like different people. And sucked from them and changed the form of their faces. It's really amazing.
HuffPost: the film does not give a lot of backstory. What happened to her parents, why they end up joining. Is there something that happened in the scenario, or something in advance, and this is what was her motive? Or are you just starting in this moment?
Durkin: I work always as it is full, so it's there, and write it down. Write it and some of it in the scenario and then pull it back. I always write a script a bit more complete, and the first thing I say is that anyone, let's go through and lose some of the lines. I always trim down before we start the exercise.
HuffPost: So you can not say that Elizabeth and the rest of the cast what was the backstory?
Durkin: If it was useful to them. But if not, I do not. I'm kind of making myself available for whatever they want to know. It was one thing in particular that we need to see Martha and [sister] Lucy was in the past. Even Sarah [Paulson] Lizzie and wanted to know a few things until they were on the same page, but other than that we did not talk much.
HuffPost: Do things that you do not want to know the public?
Whatever the film ended on a very special: Dworkin. A series of switching back and forth with us while we were doing the script, editing and shooting as well. Every piece of information too.
HuffPost: What surprised me is that, between her sister and worship, and there is no one place that's great for her to be. Clearly, a cult is much worse, but there is nothing more support there than there was with her sister. Creates an internal battle alien to the viewer.
Durkin: Yes, just because that's where it will be [in the head. Was with these people, so obviously it's reliable. Go to one of these groups with your personality, and they break you down to a state like a child, they strip you of your self and be the program for you. So when you go, you know something is wrong, so you're stuck in this in between, so there must be something good there and kept you there, and things in this new world that can not adapt.
John Hawks and charismatic leader of the group so that in this sense, her sister and it was difficult to deal with: HuffPost. Do you make any moral judgments on her family?
Durkin: I never did. I thought all of them according to their way of life was what she did, he chose to. I do not have any provisions, and I think it's just a problem of communication.
HuffPost: the narrative moves back and forth, between the past and present, and at some point you do not know whether here or there.
Dworkin: talk to people who came out, there was a lot of confusion for a few weeks. So I thought that added to the confusion. Worship also has a Buddhist philosophy. In an earlier draft of this scenario, there was someone talking about how there was no past and no future, there is only the present, and how everything is at the present time. And also how communities are actually just - what is really common is that there are no hours or calendars, so no one keeps track of time. Thus, all those things run together, meaning that it will drift back and forth, always at the present time.
HuffPost: who does not speak for the worship of this research? How do you get that information? I imagine people are kind of lips closed on this topic.
Monde: We have a friend of ours who was kind enough to share her experience with us.
Durkin: I write and you are just starting in the scenario and Josh told her about it.
Josh: She had told me about before, and I told her what I do.
HuffPost: Do you were reluctant to do so, or they were very open about this?
Monde: I'm really close with them but I think Sean was soon too, and we are all very close, and I think it was the perfect person to do so, because of the way out in the film, with all his personality and sensitivity to it. So it was dealt with gently. So it was not disturbed, and has been very supportive of it.
Durkin: It was hard for her ... It was difficult for them to remember things in the beginning.
Campos: mainly seemed to give, and she was very frank about what happened. And in no way represent the group in the film is exactly what I went through.
Dworkin: Not at all. It's more about understanding emotions and the psychology of it.
Antonio: and it did not escape, which was part of it. It took from that trip when I decided to go out, and access to a safe place where I felt, a long time, but the first few weeks after he got it he was not focusing on Sean. In fact, the most important thing that was stuck I could not distinguish between what was really happening and what was going on in her head.
Dworkin: She also said she did not remember anything except lying to everyone. She did not know why, she just kept lying to everyone about where they had been made.
HuffPost: How much of the film is based on what she said?
Durkin: It was really just about psychology, and psychology to escape and emotional consequences, and how devastated I was in the next few weeks.
HuffPost: What led you to Elizabeth Olsen?
Dworkin: Our casting director brought her where we were trying to cast a known actress, and everyone believed we could. We think it's just a better person.
HuffPost: What about her making it particularly effective?
Durkin: It's kind of effort. That was really, they can convey a lot with her eyes and face without trying hard. We thought that there would be a lot of turmoil silent, and they seized it.
Campos: It was very important that, she would have been somewhat, as he begins the film, she was beaten just below this group, emotionally and physically in a lot of ways as well. When they came in a beautiful and vibrant. So you have to start with in the mid-point where the beat down, and it's not clean, and it's physically and emotionally beaten, and you can see sort them to get better and come back to that place close to where you saw it or where it began, as we see here, go to worship. So you need someone who can be beautiful one minute, because that is what the film, a beautiful one minute, and then be the emotional wreckage in the next shot, at the present time.
Durkin: You do not really know if you're gonna get til you get it.
Campos: I mean, she came in she has a really great test, and the scenes you've chosen to test Sean, took a really good set of scenarios. It'd be something funny and playful with her sister, a paranoid and threatening, something to go, a kind of dogmatic modern. We really know that they can do everything.
HuffPost: You are not afraid to take a difficult subject and not to surrender to the arc happy.
Durkin: I think it's important to be true to where it is in that character, and try not to end what is right for this emotional state.
HuffPost: photo studio, and perhaps it was better to get everything and be happy.
Dworkin: This is impossible. This is impossible in this time frame. Take years.
HuffPost: How can you avoid the temptation, if you are trying to sell the film, to make this arc happy, even if you know that this is not what the story requires?
Durkin: I say to you that the story you tell. You can not think of anything behind the film. There is no formula to say what works. You have to be honest with what you're doing.