Benjamin Millepied Uses Movement to Reinvent ‘Carmen’ on Camera

After the film confirmed on the Toronto International Film Festival final 12 months, critics had been divided. For IndieWire, David Ehrlich wrote: “‘Carmen’ is stretched across a few too many borders to ever feel like it’s standing on solid ground. And yet, it’s undeniably exhilarating.” Other reviewers had been much less positive. “It’s an unsteady composition, a frenzied combination of willowy movement pieces, an ecstatic score and a too-loose narrative,” Lovia Gyarkye wrote in The Hollywood Reporter.

Over espresso, Millepied mentioned the important response to the movie, the attract of “Carmen” and dealing with actors. These are edited excerpts from the dialog.

Why did you wish to direct a movie?

I at all times had a private interest of taking images, a necessity to actually have a look at what I used to be keen on visually. And I’ve at all times liked movie; I keep in mind watching “They Shoot Horses, Don’t They?” and Satyajit Ray’s “The Music Room,” once I was round 9 years previous. When I used to be on the School of American Ballet in my teenagers, I went to films on a regular basis. I at all times had this dream behind my head about directing a movie.

What was the pull of “Carmen”?

Early on, once I was beginning to consider the story, I had dinner with [the director] Peter Sellars and talked about I wished to make a “Carmen” movie. He obtained sort of passionate, and stated, “You have to reinvent it, it’s a terrible story.” I assumed he was proper. It’s a Nineteenth-century story, the place the lady will get punished for her sins by getting murdered, and may’t love or be liked. I used to be keen on her essence — her freedom, her fireplace.

I wished to inform this lady’s story. It positively had one thing to do with my relationship with my mom, to a connection to household historical past and feelings.

Did you consider your model as a musical?

I used to be keen on how you can inform a contemporary story, and use music and dance in a manner that doesn’t pause the narrative, isn’t ornamental however integral. In the top, the film tells lots of the story via motion.