in Sarajevo about the psychological power play at the heart of his latest film, the distinct pleasure of shooting on film stock, and the unlikely role that Marilyn Monroe played in the making of “Heidi.”I think the starting point was when I was doing the research for “Loverboy.” I was working in a police precinct outside of Bucharest. I was very close with an old policeman who told me some stories about how he found some prostitutes, how he tried to help them.
From the beginning, I was interested in this psychological relationship, and in [Visoiu] as a character. The film is moving in different directions. I like that path. I don’t know how it is for the audience, and how you get these changes. I really liked it because it’s what I was interested in. Sometimes, you are in a situation, and you feel two completely different things. Like [Visoiu]. He can be like a father—he feels like that [towards Heidi].
When I gave the script to [Gheorghe Visu], I told him the story. And he said, “A woman like that, it would kill me. What can I do? I’m helpless.” He was talking from his point of view as an old man who had a life of love, so he was very vulnerable. He said first, without knowing the end of the story, “It would be very dangerous to get involved with a woman like that. She would kill me.”
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