‘Stars at Noon’ and ‘Conversations with Friends’ in Joe Alvin Kane – Deadline

When Joe Alvin first came to the Cannes Film Festival in 2018, he left with Trophy Chopard. Now he is back to help director Claire Dennis compete for the Palme d’Or. At noon they, Based on Dennis Johnson’s novel. In the Alvin romantic thriller, Nicaragua plays a mysterious businessman who falls in love with an American journalist, played by Margaret Quali. Also At noon theyAlvin also starred in the BBC Three / Hulu series Conversation with friends Directed by Lenny Abrahamson and based on Sally Rooney’s novel, which premiered May 15.

Deadline: How were you involved? At noon they?

Joe Alwin: I got involved in the game quite late. I was literally sent the script to read an email on Friday morning that Claire wanted me to zoom in that afternoon. “If you are interested, and if they want you, you go to Panama. Can you go tomorrow? “Claire was already there. So, I read the script and obviously I wasn’t going to say no to working with Claire Dennis. I zoomed in on her a few hours later and she said,” Will you join us? ? “It was a Friday, and I think Tuesday I was on a plane to Panama, and we started a few days later. I read the script, but it’s based on the book. I didn’t even get a chance to see the book until I was there. But hopefully everything Will happen for a reason.

Claire Dennis

Director Claire Dennis.
Olivia Morel

Deadline: What was it like working with Claire Dennis?

ALWYN: It was wonderful. She’s different from everyone I’ve worked with, and her sets are different from the sets I’ve ever been to. He is a force. He is completely single and his own and a real speaker.

It can be both incredibly tender about knowing what he wants and then about what he wants. Looks like he discovers everything at the moment and in a way that… I don’t know. I think I’m probably still working on how he works. I don’t think I’ll ever be able to figure out how he works. Maybe he won’t be able to answer either. This was certainly my most unique experience with the director on set, but I think he is absolutely great.

Deadline: How is your character?

ALWYN: My character is a mysterious English businessman who is quite mysterious and we don’t know about him or why he is in Nicaragua. She falls in Margaret’s way [Qualley]Its character or vice versa. And they are both playing a kind of game and pretending to be someone they are not in this background of political instability and instability and complete distrust. An atmosphere of complete disbelief. But in between, these two strangers, who themselves don’t give too much about what’s in their hearts, fall for each other and have some weird kind of connection, but then they get into trouble. Well, he got into particular trouble and they had to flee to the border together. Or flee to the border, Maybe Together it’s narrative, but as far as I can tell, reading it, it was those moments of tenderness between the two people that were able to break the atmosphere of disbelief and games and lies and the world.

Timeline: How would you prepare for this type of character?

ALWYN: I had a preference to go a certain way because it came about at the last minute and the whole shoot was kind of up and down in the air and was thrown together at the last minute, so there weren’t a few months to think about it. Digesting, from there you got what you could, thinking about bits and pieces of backstory that might lend itself to something deeper, but more than anything else, jumping on instinct from what it was. Page and going with her and going with Claire and seeing where she felt. Not just about the character’s story, but about the way he’s making the picture and the way you feel about it.

I feel that it is driven by tone and environment as much as it does its homework academically as to who this character is or where they come from, as in all his films. I think it’s a bit more narrative driven than anything else, almost animalistic and driven by a dialogue-like feeling. The dialogue seems to sit on top of everything else in his film, like a kind of soundtrack. It’s more about the feeling, and it’s obviously made up of characters and actors, but it’s also about everything else, the world and the melody and the color and the camera and the music too. You are only a part of that. I think part of the pictures he makes, it’s about all the pictures he makes.

With Margaret Quali.
Courtesy Curiosity Films

Deadline: How did it feel to shoot in Panama?

ALWYN: It was incredible. I have never been to Panama before. Everything was shot on location, so we got to see a fair bit of Panama, but also, we were really at the mercy of the weather, which was interesting. It’s great to be on the soundstage and see the worlds you can create in a studio, but there’s something about location that just gives it Something. Whatever it is, that little spark that can be different.

It can be both amazing and it can also be a complete mess with the schedule because you want the sun and it is a tropical rain or you want tropical rain and it is sunny. We were literally at the mercy of the weather and the world around us, but there was something really special about it. It was incredible to see the locations that Panama offered and the people there were so friendly. The crew was amazing. It was quite chaotic in some ways because logically there was strategy because you can’t control the sky. But it was a nice place to shoot and I’m really glad we shot there.

Deadline: What are some highlights from your time in this project?

ALWYN: The highlight was really, first and foremost, Claire. And of course, Margaret and Panama and the ones we collaborated with. Eric Gautier shot it, and everyone was brilliant, but Claire led it. It was amazing to see how he had to work, and what he wanted, how he communicated with the department heads around him, and how he worked. He will be in the trunk of the car. We will be driving around town with him. He would be stuck in the trunk, shouting at us in French with instructions in the car – who were taking pictures of us – and crowding like five people – and saying whatever he wanted. He is just a force like anything else. I’m really lucky to have gone on that crazy ride with him.

Deadline: This is the first time you’ve been back in the ear since winning the Trophy Chopard in 2018. What does it mean to have you? At noon they Your first film to star in a competition?

ALWYN: It’s amazing. Obviously this is a famous festival and a festival of filmmakers. This is a special place to watch your film. So, being part of something that is going on there in that power, and being with a director like Claire, going to the ear and obviously being French and being her legend in the world of cinema, is really, really special. It was nice for the awards a few years ago, but it would be a really amazing experience to be there with the movie you’re in, I hope.

Conversation with friends

With Allison Oliver Conversation with friends.
Edna Boye / Hulu

Deadline: You also have the BBC Three / Hulu series Conversation with friends You’re coming to where Nick Conway is playing. What did you do to him?

ALWYN: He is the one who is in the recovery phase when you meet him and has come through some storms. He is a married man who is a bit numb to the world and just working. He started this relationship with a woman about 10 years younger than him. It’s about the relationship between him and his wife and this girl named Francis. He’s actually quite far away, but he’s the one who’s getting back to life somewhat.

Deadline: Conway is also an actor, so what similarities do you find between his acting career and yours?

ALWYN: I don’t know if I cared much about what his career might look like or what he might do with me, but of course he’s a character who has had ups and downs and he’s struggling with mental health, and that’s probably with his job. Formed by many things. I think I can relate to the strangeness of the work and its ups and downs and how it can be the best thing and something difficult to navigate. So, even though I don’t know how our careers can be different, I still feel weird about how I can relate to her on a level of understanding, decorating and pretending to be someone for a living. The weirdness that comes with just trying to do it as a job.

George Miller / Deadline

Read the digital edition of Deadline’s Ear / Disruptor Magazine for 2022 here.

Deadline: Were you familiar with this book before you started?

ALWYN: I fell when I came out. I really like Sally Rooney’s book. I also read Ordinary people When it came out, before it turned into a show. So, I was a big fan of both books. Then I saw what they did Ordinary people And Lenny was also a big fan of Abrahamson who made it Ordinary peopleSo the opportunity to be a part of her world and her mind and the world of Sally Rooney and her mind coming together was really exciting.

Deadline: What was it like working with Lenny Abrahamson?

ALWYN: It was wonderful. I think he’s really brilliant. He is an incredible director. The way he works he is very detailed, interrogates the material, almost beats and looks at me every moment for what might be there in a very subtle way. But he is never too enthusiastic about doing so and he is very supportive. I like his very natural, very subtle, very intimate world that he has created, obviously in recent times. Ordinary people, But plenty of his other work as well. It seems very grounded and very real, and not so much what is said. And also, as a person, he is the most beautiful man in the world. Funny and just a great friend.

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