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 Very often you see this troubled man that a woman wants to save—unless it’s a stripper. So I found it really alluring. Going to Badlands for instance, she’s so innocent and so trusting and loving and accepts whatever he says and goes along with his reality even though he is an extremely troubled and bad person. And you just accept that she loves him and you don’t really question it. But it’s a really interesting thing to flip it and allow it to be a man with a woman. I’ve seen some distaste for that, like, why didn’t he get the fuck away from her? I’m glad, I want those questions to be raised because I see it a lot in cinema, this idea that women are supposed to accept that a man’s troubled. For instance, I was very fascinated when I was younger about Kierkegaard, and he said to Regina— the love of his life—that he was too dark to be with her. So he removed himself from her and wrote all these works like Fear and Trembling yet kept sending her manuscript after manuscript, which is like torture to this poor woman. But also being in love with someone and being like, I’ve already accepted that you’re this tortured soul and now you’re telling me that I don’t have the capacity to understand it. As if I don’t have any existential crises of my own? This idea she has to accept that he would be this way and just move on, and he would never accept her was basically what he was saying. So time after time after time narratively I kept seeing these stories of women accepting the neuroses or violence of men, the stand-by-your-man sort of idea. But never really saw it flipped on its head; so it was fun to play around with that.
Amy Seimetz Talks Complex Women & Strong Emotion in Her Directorial Debut ‘Sun Don’t Shine’
  1.  Very often you see this troubled man that a woman wants to save—unless it’s a stripper. So I found it really alluring. Going to Badlands for instance, she’s so innocent and so trusting and loving and accepts whatever he says and goes along with his reality even though he is an extremely troubled and bad person. And you just accept that she loves him and you don’t really question it. But it’s a really interesting thing to flip it and allow it to be a man with a woman. I’ve seen some distaste for that, like, why didn’t he get the fuck away from her? I’m glad, I want those questions to be raised because I see it a lot in cinema, this idea that women are supposed to accept that a man’s troubled. For instance, I was very fascinated when I was younger about Kierkegaard, and he said to Regina— the love of his life—that he was too dark to be with her. So he removed himself from her and wrote all these works like Fear and Trembling yet kept sending her manuscript after manuscript, which is like torture to this poor woman. But also being in love with someone and being like, I’ve already accepted that you’re this tortured soul and now you’re telling me that I don’t have the capacity to understand it. As if I don’t have any existential crises of my own? This idea she has to accept that he would be this way and just move on, and he would never accept her was basically what he was saying. So time after time after time narratively I kept seeing these stories of women accepting the neuroses or violence of men, the stand-by-your-man sort of idea. But never really saw it flipped on its head; so it was fun to play around with that.

    Amy Seimetz Talks Complex Women & Strong Emotion in Her Directorial Debut ‘Sun Don’t Shine’

  1. 86 notesTimestamp: Monday 2013/04/29 11:51:47Source: Blackbookhwamy seimetz
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