“Not only was this a transformative moment for the character, but for me and Todd and how we worked together, where we would became comfortable with allowing things to unfold and not know the answer for the scene,” Phoenix said. Phoenix got ready and did a menacing dance through a couple of takes. “Let’s start on your foot,” said Phillips, “we’ll light it and use two hand-held cameras and let’s start shooting.” It was the first piece of music sent from composer Hildur Guðnadóttir. “Let me play you something,” said Phillips. I don’t know what the fuck I mean by that.” “It’s some kind of dance, not a happy dance. They talked about possibilities: Does he get sick? Does he laugh? “Nothing seems to have accurately captured the transformative moment, the emergence of Joker,” said Phoenix. “We’ll go to set alone, you and me, and talk.” “Fuck, we never figured this out,” Phoenix told the director. We couldn’t identify what it was, and got to set to shoot it.”Īccording to Phillips, it was day seven. “He’s out of breath, he hides the gun, and looks in the mirror and says a line. “As we went through the rehearsal process, we always struggled with the scene that was there,” said Phoenix. Like the pivotal public bathroom scene following the Joker’s first kills on the subway, when shooting three bullies makes him feel better. That’s when Phoenix and Phillips started to get on the same page. “The whole dance sequence in the script at the end.” “I wonder if there should be some kind of, like, dancing,” he told Phillips. Phoenix was embarrassed to bring up his “stupid” dancing idea until he got to New York. In hindsight, I realize I’m testing the boundaries to see how far the writer-director is willing to go with it.” “Joker” Niko Tavernise I read through the script with Todd and Scott, talked about what their intentions were for a scene, what I wanted to do, and if it matched up with their idea. “He sent me two rewrites I never read until I got to New York a month early. “After reading through the script a few times, I never picked it up again,” he said. The actor pushed and tested Phillips, as he does with all his directors. It was an interesting way to explore the character.” Todd managed to weave those two ideas together effortlessly: On the one hand it felt visceral vivid and real, and on the other hand it paid homage to the Batman myth. “You’re dealing with this fictional world, fictional characters. “I’m looking for whatever seems truthful, to inhabit this world, trying to find some kind of reality,” he said. What Phoenix does know, whether it’s with Paul Thomas Anderson (“The Master”) or Gus Van Sant (“Don’t Worry, He Won’t Get Far on Foot”), is how to go someplace different. I hate the idea of labeling something, just mostly because I don’t really know what the genres are.” I don’t think we have enough of that in movies, particularly in a superhero genre movie. I had so many mixed feelings about the character. Usually when I’m scared of something, it makes me feel like I have to go towards it. “That’s what made me feel I had to do it. “I couldn’t come up with any answers,” he said. But the more he went over it with Phillips, and shared the possibilities of what he might do with the troubled character of Arthur Fleck - an undernourished, beaten-down, sad-sack smoking clown with a sick mom, a rich fantasy life, and a dangerous desire for attention - the more he realized he had to face his fear. Phoenix had no idea what to make of “Joker” when he first read it. Scorsese was going to produce it at one point his producer Emma Tillinger Koskoff continued at the helm when he became overloaded by “The Irishman.” And Robert De Niro plays a talk show host in “Joker” close to Jerry Lewis’ role in “The King of Comedy.” Travis Bickle and Martin Scorsese references are all over “Joker,” a script written by “Hangover” writer-director Todd Phillips and “The Fighter” co-writer Scott Silver. Richard Dreyfuss Criticizes Oscar Diversity Requirements, Defends Blackface in Laurence Olivier’s ‘Othello’
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