Page 30 - ARUBA TODAY

A30 PEOPLE & ARTS
Wednesday 22 March 2017
Ryan Gosling on Malick, directing again and that Oscar flub

JAKE COYLE ling said in an interview by
AP Film Writer phone from Los Angeles. “I
NEW YORK (AP) — Even was very happy for ‘Moon-
amid the chaotic melee light’ at the same time. It’s
on the Dolby Theatre stage such a wonderful film. It’s
during the infamous best- great to see such great
picture Oscar flub, Ryan work acknowledged.”
Gosling was typically un- It takes a lot to rattle Gos-
flappable. While most re- ling. But making Terrence
acted with shock and con- Malick’s largely impro-
fusion, there was the “La La vised “Song to Song,” the
Land” star — cool and be- 36-year-old actor grants,
mused — chuckling on the was like working “without
side of the stage. a net.” Gosling stars in the
“What can you say?” Gos- film, which expands in the-

In this Feb. 26, 2017 file photo, actor and Academy Award nominee Ryan Gosling arrives at the
Oscars in Los Angeles.
Associated Press
aters this weekend, along- the film? — to get these people to
side Michael Fassbender Gosling: There were these reveal themselves.
and Rooney Mara. It’s themes of love and be- AP: It sounds like a chal-
broadly speaking a love trayal he was discussing a lenging process, but you,
triangle set against the mu- lot with us. It seemed to me Fassbender and Mara of-
sic scene of Austin, Texas, that what he was trying to ten exude such joyfulness
but plot describes only so do with this unique process in the movie.
much in a Malick movie. of shooting was to sort of Gosling: We would basical-
“Song to Song” is a careen- take a sledgehammer to ly travel in a van together
ing kaleidoscope of light those themes and break with a small group of peo-
and love, wandering be- them into smaller pieces so ple. You would just hop
tween the everyday and he could reassemble them out and play out the gen-
the transcendent. into a different form that eral idea of the scene in a
Gosling is currently ready- would give the audience certain location, and then
ing for another film with “La an opportunity to see them hop in a van and look for
La Land” director Damien from a different perspec- another location to do the
Chazelle, in which he’ll play tive — maybe his perspec- scene in. We spent most
astronaut Neil Armstrong. tive. It was more like poin- of our days that way. A
And he stars in this fall’s tillism or something where lot of days you felt like you
sci-fi sequel “Blade Runner you’re creating fleeting weren’t able to get some-
2049.” But his experience moments that he can later thing that Terry was looking
on “Song to Song,” shot all assemble into a bigger pic- for, because he’s looking
the way back in 2012, is still ture. for something beyond the
powerful for him. AP: What was the atmo- scene. You just have to
AP: How did Malick ap- sphere like while shooting be ready for when it hap-
proach you? in Austin during a festival? pens. We did kind of hit a
Gosling: It was just: Would Gosling: My job was to try wall at a certain point and
you be interested in work- to encourage passersby Terry said, “Let’s just go to
ing without a script? I said on the street — non-actors, Mexico.” So the next day,
sure. A little more than a musicians, people in the we picked up and went to
year later, he asked me to crowd — to come into the Mexico.
come out to Austin. They world of the movie and AP: Fassbender’s chimpan-
were doing some kind of take the scene where they zee impression on the Mexi-
preliminary shooting at one wanted to take it and to try can beach was impressive.
of the music fests out there. to keep in the world in the Gosling: He does an incred-
The idea was that he want- movie. To try to keep them ible chimpanzee.
ed to try to cause what he from looking into the cam- AP: You directed “Lost Riv-
called “collisions” between era, to try to make them er,” a highly personal De-
a narrative film and this mu- address me as not an ac- troit-set fairy tale, shortly af-
sic scene in Austin, to take tor but as a fellow concert- ter making “Song to Song.”
these scenes into real envi- goer or whatever the situ- Was Malick an inspiration?
ronments that you couldn’t ation required. It was very Gosling: He would give me
control and see what hap- different than just playing the camera almost every
pened. a character. It was almost day and have me shoot
AP: How did you talk about like, I don’t know, your job something.q