Jonze pretended to be an unskilled but enthusiastic break dancer, he has blurred the line between fiction and documentary.
From “Jackass” stunts to his fake, endearingly amateur Torrance County Dance Group, in which Mr. In that sense, the film is an apt match of man and plot machinery. “With Spike, there’s not a huge difference between what’s natural and acting. Phoenix until he unexpectedly sat down and spoke his first line. Wilde said: “It’s not because he’s making some Hitchcockian attempt to try to fix something he has in his mind. We just always approached it like a real relationship.” “All throughout shooting, we just bought it,” Mr. The design of Theodore’s smartphone-like gadget was based on an antique Deco cigarette lighter. Barrett, who consulted informally with the firm Diller Scofidio & Renfro, avoided the global, neon bazaars of “Bladerunner” and the kinky latex of “The Matrix” for high-waisted trousers, natural fabrics and exquisite wood furniture. He shot in unfamiliar-looking locations in Los Angeles and Shanghai to give the film a lived-in feel. Though the film is essentially set in the “uncanny valley” where technology and human emotion intersect, Mr. It really was about the way we relate to each other and long to connect: our inabilities to connect, fears of intimacy, all the stuff you bring up with any other human being.”
#HER SPIKE JONZE MOVIE#
Jonze said, “There’s definitely ways that technology brings us closer and ways that it makes us further apart - and that’s not what this movie is about. “He kept saying, ‘That’s cool, but, this is not a movie about technology.’ ” “I went in to meet with Spike and launched into this diatribe about artificial intelligence,” said the actress Olivia Wilde, whose character ends up on a painfully awkward blind date with Theodore. “Her” may sound like a dystopian, satirical treatise on digital culture, but it is not a farce and it is resolutely inconclusive. Theodore’s best friend (Amy Adams) is just happy that he’s happy. He takes her (or at least his earpiece) on dinner dates, on long romantic walks and on an old-fashioned trip to a carnival. She gamely cleans up his inbox, organizes his hard drive, books his appointments and, ultimately, steals his heart. When lonely Theodore upgrades his computer’s operating system, the disembodied, husky voice of Scarlett Johansson says hello, and tells him to call “her” Samantha. “Her” stars the typically tortured Joaquin Phoenix as Theodore, a brokenhearted, divorced middle-aged man who works at, writing moving correspondence for people who care to send the very best (and can pay someone else to do it). It just seemed like I wanted to keep going further with making things that were purely out of my own imagination.” Jonze said, shrugging, as ever, when asked about his motivations. “After ‘Where the Wild Things Are,’ I guess I felt more confident as a writer,” Mr. Jonze has written and directed by himself. Jonze directed Charlie Kaufman’s pyrotechnic scripts for “Being John Malkovich” and “Adaptation” and he (and Dave Eggers) wrote the film “Where the Wild Things Are,” but “Her” is the first feature that Mr. 18, he graduates into midcareer maturity with “Her,” a near-future romance about a man who falls in love with his computer’s sentient operating system. Jonze is still directing music videos and pulling puerile “Jackass” pranks with his longtime co-conspirator, Johnny Knoxville, in “Bad Grandpa.” But on Dec. His warm, excitable voice still crackles like a teenager’s, even as he speaks about his executive roles as creative director of Vice Media and the inaugural YouTube Music Video Awards, airing Sunday night.Īs a filmmaker, Mr. Jonze still has his boyish, tousled blond hair and short, scruffy beard, only it’s a bit neater, and there’s gray peppered through it. Jonze, 44, burst onto the scene as arguably his generation’s most influential music video director with bands like Sonic Youth, Björk and the Beastie Boys, he has changed plenty, and not at all. There was just no way that would have ever even crossed my mind.” “Me and my friends had BMX magazines and skate magazines, and I was a photographer who made skate videos.
“When I was 20 years old, I had no plans to ever be a filmmaker,” said the director Spike Jonze, cozy in a cotton button-down oxford shirt and a crew-neck sweatshirt, even on a stiff couch in a bland, beige Hell’s Kitchen video-editing suite.
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