My Campy Slumber Party: Xanadu, Muses, and Disco, Oh My! “I would be a mess without her. It’s right in the middle and feels real and natural. Shults wants us to feel uncomfortable, and we do, but we can’t look away. The camera pans left for the Tupperware, it pans right to the TV with the boys fighting, it pans right again for the boys fighting, it shifts and goes into Krisha’s profile. But she's a pro and she didn't even realize she was. Is this a horror movie or something?" I'm very, very impressed with her. We never get an answer for this, and I felt my attention was directed towards that rather than towards the situation in hand. Fairchild, who lives in Mexico with a partner who’s been sober for more than two decades, was eager to make a film that might encourage people to talk about the silent epidemic that has affected so many of her loved ones. I planned all these things in one take, but if the performances aren’t working, it doesn’t matter. Shults lets the shot play out in its entirety. The rehearsal was just to get down a lot of these long takes, figure out how we're going to pull them off. For a more from Shultz, check out his Cannes Video diaries below: "I failed and I turned [the first feature attempt] into a short, and then finally I made Krisha. The score intermixed with the [sounds of] chopping and Tupperware dropping and cabinets slamming blend for the sound design. The film's camerawork, sound design, editing, and aspect ratio render it truly unique in form: experimental, yet accessible and fresh. What do you think about how Krisha has blended reality and fiction in its casting and setting? That's the goal. “Addiction is a big elephant in American living rooms,” she says from experience. Her finger’s covered in a bandage, and in one stomach-turning moment, Krisha actually loses the bandage inside the turkey cavity, while another family member looks on in disgust. But she's a pro and she didn't even realize she was. It was a really beautiful way of working, because once all got to know the story, it was just collaboration. That was always going to be a little bit tricky because it’s one thing to chose to use your family, but then to demand performances in terms of long takes is more difficult. Krishna laid down under a tree and went into Yoga Samadhi. Recently Indiewire caught up with Shults to discuss his use of long-take steadicam shots and to find out how he pulled this all off working under such extreme limitations. 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It didn’t work out: “I had an ego problem back then,” Shults grimaces. And I was stubborn and we did it anyway. Shot on a shoestring budget over the course of nine days at his mom’s house in Texas and almost entirely cast with the director’s blood relatives , the drama is such an unflinchingly honest exploration that it feels like watching someone perform a public autopsy of their family tree. Prominent in the frame is Krisha’s missing finger, an injury that goes unexplained but sits uncomfortably close to her carving knife, the sound design amplifying every hollow chop-chop-chop of the knife. The rejuvenated actress has no interest in wasting time on stock parts, and she’s definitely not going to let a missing finger (which she insists is “much more gnarly-looking now”), keep her from missing opportunities. But we have so many other things going on, like the family is loud and crazy and the boys are fighting over the football game. All rights reserved. She's like, "Who's that?" Taking “write what you know” to the next level, Krisha not only digs up a tragic episode from Shults’ recent family history — it stars the actual people who survived it. My grandma didn't know we were making a movie, so that was a different thing. We’ve all felt it, whether around that alcoholic cousin or Fox News-entrenched grandpa; tryptophan and red wine quickly erode veiled niceties into shouting matches and passive-aggressive snipes about personal slights from ten years ago. At the heart of the film is the relationship between an estranged mother and son and the pain of giving up on your dreams. With impeachment hearings and trade wars and quid pro quos, this might be the tensest Thanksgiving yet. Everyone’s all smiles when she arrives, but you can see the careful, measured caution in their greetings. I like movies that flow like a piece of music, like Punch Drunk Love and a lot of other Paul Thomas Anderson stuff. I just wanted them to be able to do whatever they wanted. Krisha Fairchild is Schults’ real life aunt, Robyn Fairchild (Krisha’s sister) is Shults‘ own mother. Keep pushing, no matter what. At the end of the movie, I kind of wanted to style the ship a little bit and have longer lenses and a few cameras rolling simultaneously. There were a lot of influences, but “There Will Be Blood” was the one I studied the most and kept re-watching. He mistook Krishna for a deer who was stretched on to the Earth in Yogic posture. Though never explicitly stated, the implication is that the two haven’t seen in each other a number of years. Krishna … Stay on top of the latest breaking film and TV news! I'm really into music. Sign Up: Stay on top of the latest breaking film and TV news! But no Thanksgiving dinner is complete without the turkey, and Shults doesn’t miss a chance to use the bird as a potent visual metaphor for the pressure cooker Krisha finds herself in. My mom just brought the groceries home one day, and then I'm like, "Mom, Cassavettes does it all the time." The preceding scenes (and the fantastic introductory long take) show that Krisha is coming home to family that she hasn't seen in a while on Thanksgiving day, and has good intentions for her visit. Looking at things that maybe we find uncomfortable. All the day stuff mainly was knowing what time the sun would hit the house and block off certain windows, because there were so many. “I’m old! Different actors would be in different rooms of the house creating new scenes. It kind of ranges. "Just because you're doing a little chaos doesn't mean it has to be handheld, shaky, and crazy. It was all about finding those peaks and valleys so it didn't become too overbearing. I made a lot of bad movies. Given the family she’s working with, Krisha has her work cut out for her, the family environment capturing the cavalcade of personalities familiar to many an American Thanksgiving reunion. Krishna became the focus of numerous devotional cults, which have produced a wealth of poetry, music, and painting. Krisha’s downwards spiral is intrinsically linked to the souring of the conversation. He is the god of compassion, tenderness, love and is one of the most popular and widely revered among Indian divinities. General Manager: SKYWALKER SOUND EXECUTIVE STAFF, Head Of Engineering: Skywalker Sound Executive Staff, Head Of Production: Skywalker Sound Executive Staff. Shults: I totally agree. I couldn't stop because it was the first time in years and years of making movies that I had pulled off the dream. We had nine days total. When I was talking to people about it I kept saying I wanted it to be a cinematic chamber drama. I am sensitive when people say, “Oh, he did that for a calling card,” because I thought this approach would do more justice to this woman. The first time I was editing, it was the biggest high. My girlfriend would wake up at 3AM and I'm drinking wine, talking to myself. Thanksgiving is a largely barren cinematic playing field. The film takes place over the afternoon and evening of her return. It just felt like giving her more respect than [using] a handheld, shaky-cam, with a tight lens. “My mom’s a therapist,” he explains. At a short running time of only 80 minutes, Krisha left me wanting more. It’s a fantastic portrayal of addiction because we cannot separate Krisha from her addiction. What begins as a friendly reconciliation turns into accusations and cruel jibes from Doyle. Through the camerawork and visuals we can begin to piece bits together but in the end, the reality is that addiction is awful and you can’t dress it up any other way. I was the sole producer. Yeah, you’re nailing it on the head. I just knew in my gut that it's what I love more than anything. I think this a day she’s going to remember for rest of her life and I wanted to feel that weight cinematically. “Obviously I didn’t want my beautiful aunt to lose her finger — I love her!” Shults explains. They'll think you're crazy, or silly, or stupid, or whatever. I simply let the actors act until we feel the weight of this scene and the zoom – and it gets really claustrophobic, right on Krisha’s face. It’s hard to maintain eye contact with someone who knows you are watching her and is asking why. And I'm like, trying to explain to her that [John Cassavetes'] family is in his movies. How many shooting days did you have? That was steadicam again. We had to stop and take a break because certain stuff with her hit so close to home. But then we take a break for a while, and it's like you are going into the other room. Though there are hints of a sequential narrative, Krisha uses montage editing throughout. If we break when she opens the door, if I do cut, it’s more of a release. It’s a radical bit of role-playing. Exactly, it creeps up and it was such an effective way for this movie to establish that tension and keep it going, even if it was a simple scene with Krisha and I on the couch. We kind of stumbled upon this awesome approach: we would know what we had to get in the script, and then we would improvise. “I’m way less judgmental now than I was before we made the movie,” the actress candidly admits. There were a few moments which Krisha could have done without. “She had dementia, so she didn’t know what was going on,” he admits, “but she’s a social butterfly.” That made her more than happy to play along, and the results are immediate and heartbreaking as the family dynamic softens to make time for someone they might be seeing for the last time. These are just very simple four minute takes with a slow zoom, which brings in this reality that I really wanted. NFS: How did the short film become a feature? It was a really beautiful way of working, because once all got to know the story, it was just collaboration. What could easily have turned into a semi-therapeutic, semi-egocentric film about Shults ‘ own life and family successfully evades these potholes and instead engages the audience with its unique style and take on the horror of addiction. "We barely ever shot traditional coverage.". Shults: I think that's a really good question. ), The openness of his family doesn’t mean that they were impervious to the weight of what they were trying to do, and it was inevitable that certain scenes would blur the line between pretending and reliving. We're following her for the long take. Exactly. The political polarization of the last four years certainly hasn’t helped. 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