Issue link: https://digital.copcomm.com/i/1126636
DGA QUARTERLY 87 PHOTO: FREDERICK M. BROWN/GETTY IMAGES Q: Do you consider your work political? A: I would say more social than political. I'm not a political guy. I follow politics and, of course, I vote and do my duty. But I don't think I would pick up a project because it is a political project or talks about politics. Looking back, it's more about social [sub- jects] and about the underdog. I've said it before, I have a thing for underdogs, where they've got to put up a fight to find their happiness and to find themselves. I guess I had to do it, too, and that's why I relate to this and I like to defend and present these characters and serve these projects. Every artist, consciously or uncon- sciously, at one point they tell their own story. I've done it partly with C.R.A .Z.Y. with the music aspect, the mother-father relationship. But I guess I do it a little bit in every project, even though they're not my scripts. I find projects that I relate to, projects where I go, "Yeah, OK, I can tell this and feel comfortable telling this." Al- though I felt I was out of my comfort zone with Sharp Objects more than the others because I've never encountered a charac- ter like this—a cutter and an alcoholic, a sex addict in some ways. Q: Do you think it's a responsibility of the conscientious filmmaker to enlighten and change perceptions? A: Hmmm, it looks like we're in an era where we're becoming more and more conscious. I hadn't thought of it before, but there is some change going on in the indus- try and between men and women and in society. Now, with the minorities, with the different… I'm not using the right word be- cause of my French... Q: Yeah, the lack of representation… A: I think it has to be authentic and it has to come from the right place. Q: It can't be didactic. A: I've never thought of it this way, but I hope in some ways that these stories that I embraced and defended and served do that. If they can, that's a plus because we're here for 80 years—90 if we're lucky. Particularly us men. But the trip is amazing. Life is pre- cious. I'm 56 and I'm starting to go, '80?' That means I have 24 years left. Q: I try not to think about it. A: But your question makes me think about it. Why are we here? Why am I doing this? Art has this… power, maybe? To change mentalities or maybe change perceptions, like you were saying. "Oh, I see this differ- ently because I saw this thing. I was told this story." And it was through music or a stage play or a film or in a museum, some amazing art forms, and it transcends someone and makes him or her want to do something. ® Vallée displays his DGA Award for directing Big Little Lies. Your Production Ground Travel Partner for 48 Years BLS features new vehicles, professional chaueurs and great rates. Email customercare@blsco.com or call at us at (800) 843 5752 to set up your account. *Get your tax rebate by booking ground transportation with BLS in the state of Georgia. www.blsco.com BLS oers true one-stop ground transportation shopping for film and tv productions with oŠces in Los Angeles, Atlanta*, New York, Las Vegas and 1000's of aŠliate partners all over the globe. Your Production Ground Travel Partner for 48 Years BLS features new vehicles, professional chaueurs and great rates. Email customercare@blsco.com or call at us at (800) 843 5752 to set up your account. *Get your tax rebate by booking ground transportation with BLS in the state of Georgia. www.blsco.com BLS oers true one-stop ground transportation shopping for film and tv productions with oŠces in Los Angeles, Atlanta*, New York, Las Vegas and 1000's of aŠliate partners all over the globe.