Issue link: http://digital.copcomm.com/i/551510
26 CINEMONTAGE / SUMMER 2015 AH: From the beginning, we discussed the editorial approach as being musical. We didn't worry about act structures, coverage or scene structure. It was all about feel and the material suggesting its own rhythms. It was improvisational and jazzy in a lot of ways. Some shots would feel like they were dying; but then we would try some new sound thing, a new story being told off screen, and suddenly it would breathe new life into it, and we found we could stay longer. We were trying to create these immersive environments that the audience could lose themselves in — just as George, the main character, is lost in them. And we knew that sound was going to be just as important as picture in accomplishing that. It was always part of the goal to have it be this one experiential thing. Normally you spend all your time trying to make scenes work visually and to have everything make sense. In this case, we weren't concerned with that kind of logic. We were trying to open it up and tell other stories besides the one the camera was seeing. That became almost like composing. OM: We always wanted to make the movie layer around Richard Gere's character so as you see him, you have to make an effort to pay attention to him because it's about the kind of man we don't pay attention to. CM: Alex, most of the projects you've worked on go for a level of verisimilitude. Is there something about that aesthetic that is particularly appealing to you? AH: I am attracted to real stories about real people with real problems, without layered-on artificial drama or melodrama. This runs through almost everything I've done — from my work with Jim McKay [Everyday People, 2004; Our Song, 2000; Girls Town] to both of David Simon's shows [Treme, 2010-13; The Wire, 2002-08] to the films that Oren and I have done together. It's always about people and their cares and concerns. It's about simply wanting to be a part of telling stories that I can believe. I guess that's just old-fashioned humanism. I've been lucky to have the opportunity to collaborate with talented people who are similar Time Out of Mind. IFC Films "From the beginning, we discussed the editorial approach as being musical. We didn't worry about act structures, coverage or scene structure. It was all about feel and the material suggesting its own rhythms." –Alex Hall