Fortunately, I watched this movie at the Hammer Museum near UCLA and the subsequent interviews with the creative team. This event was hosted by the Museum of Modern Art in New York, and selected the most valuable (“historical significance”) of the 10 films released this year, and invited interviews with the director.
In the interview, the director mentioned that when the director read Emma's novel, his mind was full of images of mother and child in a small room, lingering, so he wrote a 10-page long letter to writer Emma, expressing his thoughts about the novel. Understanding and how much I want to make this into a movie, I have this film.
The host said on stage: This is a heartbreaking movie, and I was ready for all kinds of abuse at that time. After the movie was screened, the host smiled fiercely, "You are heartbroken, you will be compensated in the end, hahaha"
it's a movie about captivation but doesn't talk about captivation, but talks about stepping out, about intimacy, and love. The
host asked What is your favorite experience since the filming started?
Jacob, Jack's actor (seriously): I just have long hair. I like it very much. I regret to know that I can't have long hair in the future.
Brie, the actor of my mother: Go out. This movie is about going out, into a larger space full of unknown fears. My personal experience is especially true. Before and after the filming of this movie, it was as if I had reborn and walked into a completely different life.
Audience: What emotional preparations did you two make for the role?
Jacob: (Eat a lot of candy...)
Brie: I learned about the mental and physical state of the imprisoned from professionals, and locked myself up.
Audience: What is the atmosphere of the whole filming and how to "teach" the children.
Actor Director: Jacob is great. But after all, it is a child, and many things are not under our control. For example, in the play, he was angry at the birthday cake because there were no candles. But at the performance site, Jacob was very happy to see the cake and said, "I like this cake very much. I am definitely not angry with such a good cake!" The director "You have to be angry, you have to be angry!" Jacob is still very happy. "Just look at it. It's delicious, why do you want to be angry" The director is crazy "Be angry! You can eat only when you are angry!" Jacob had no choice but to get angry and ate half of the cake. . .
Audience: How many times did you act Jacob in the scene of rolling the carpet?
Jacob: It looked like I practiced 10 times, and I officially shot and played it 5 times.
Brie: What a mess, it's not good at all! This is a very serious scene in the script, but Jacob was happily rolling the carpet, and we took a lot of effort to keep him from screaming excitedly in it. When there was really no way, the adults looked at each other, really not sure what the hell we were doing.
Moderator: So what plans does Jacob have in the future?
Jacob (serious): I am going to be a director of an action drama film. I now have two stories in my mind.
Brie: But last time you said you want to be a Jedi!
Jacob (regret): But obviously, a real person cannot be a Jedi.
Brie (stunned): Who told you this? It's so sad!
[This answer is actually very emotional. The boy in the film slowly learned the real world, and the actor Jacob also slowly learned. . . 】
----- Below are a few fragments of personal shock ------
The mother, who had been imprisoned for 7 years, created a world the size of a house for his 5-year-old son Jack. In the eyes of this child, the outside of this room is regarded as outer space. The movie directly asks the child to dictate his little pitiful worldview, "The plants in the house are real, and the trees do not exist, only on TV." When saying it, he used a very innocent and surprised one. The tone, like any other child who grew up in the "big world". This paragraph describes that if you want to recall the expression and mood of your mother when she lied to him, in fact, your heart is bitter and goosebumps. For the mother, this is a place that makes people feel that they have been forgotten by God, full of twisted warmth, even if it is so beautiful in the eyes of the child, this room exudes a rotting breath like a corpse. But for a child, it is where he grew up. His sense of security, precious childhood memories, and intimate memories are all born here. This beautiful and disgusting combination really makes people's hearts uneasy. Until the last moment of the film, this contradiction still existed, but the farewell of two different moods, one big and one small, brought down the imbalance of Gao Xuan, and finally the tears from the audience were gratifying. It was heartwarming at the same time. Cruel. In the end, I couldn't help myself. I shed tears for a long time. When I went to the director and producer, two actors and actresses, I started talking and laughing. I was still immersed in this mixed emotion.
Ah, back to the beginning of the movie, the mother protected the child from letting old Nick touch him, and the child even looked forward to Nick’s birthday gift with ignorant expectations. "1, 2, 3, 4, 5..." The child only knows the number, but does not know the painful expression of the mother in the rhythm of the sound. Everything changed after Jack walked out of his little clothes kitchen. This was an important turning point in the movie. When shooting, the child's hand hesitated to open the door, which gave people a sacred milestone-like feeling. This time the bastard old Nick revealed Jack's true face that Jack could not see in the kitchen. Step out, in fact Jack has already taken his first step at this time. However, I still feel that the film’s treatment of the corresponding transformation of the heroine is not dramatic enough. I was thinking at least to give my mother a humiliating and helpless expression, that is, "Although I created your world, I am in the world." This is how it is produced in this way," and then I have learned from it painfully, thinking about where to go in the future, and then "the real world is like this", it will be more reasonable and reasonable on the emotional line.
Then flee. Here ushered in the greatest peak of the sense of the whole film "five flavors": the child loves his mother but does not want to escape the hatred, the child is nervous, the child will be suspicious of the big world outside-until he removes the carpet, rock style The music also reached its climax at this time-what he lifted up was the entire blue sky, and a vastness that was so beautiful and terrifying was nakedly unfolded in front of him. . .
I questioned the IQ of the imprisoned, questioned the rhythm of the movie, questioned why my mother didn’t cut the child’s hair, questioned when I fled, although I didn’t know the ending but I couldn’t get nervous with the child, but when I lifted the blanket, I saw the blue sky. For a moment, something deep in my heart was stabbed by it. This was an extremely strange experience. It was not a broken heart, but the heart-piercing feeling of being pulled out by the eagle's beak alive.
Then the child’s plan to escape is not detailed. It is like throwing the child into a basket and drifting along the water in a costume play, but not even a piece of paper is written, IQ! But the character of conscience—the important clue figure of Police Officer Parker came out to clean up the mess! Halfway through the movie, the mother and son are already outside. Their lives turned over in the middle of the movie. I looked at my watch, Nima, it turned out that being outside is the core of the story.
The child's idea is simple, "When can we go back to the original room?" The child is ignorant.
My mother’s mood is very complicated [I think the movie did not handle it best]. To move on, but constantly questioning each other's wrong actions. I wanted to step out, but I found that the belief that "the child is mine" and "I want to be with the child" had to be questioned before. The mother is not just a victim anymore, is she also an accomplice? There are too many things to bear, and the mother collapses.
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