He did that bit of Indian dance in the Opening Ceremony of the Olympics. His name, Sidi, means direct descendent of the prophet Muhammad, and so I always used to call him The Prophet. If I see a film that doesn’t have rhythm, it’s like listening to music that doesn’t have rhythm; it doesn’t really work. CHEW-BOSE: Do you have a part of the film that is your favorite? I guess I love the ball because it’s very pure cinema. It couldn’t be done on stage or in radio or any other medium.I also worked closely with the composer prior to shooting, so we had a kind of score that we were able to play on set. And that’s not just the dance scenes -there were certain themes that we played over and over. My wife’s a musician, and music is a very large part of my life. My favorite moments in film are always moments that are inherently cinematic.
I find that it puts me in touch with something that is divine and it helps me make sense of the world. I always get a bit depressed when people say my films are painterly, because I don’t want them to painterly, I want them to be cinematic.
CHEW-BOSE: In the press notes, one of the things that struck out to me were your varied influences when imagining your adaptation—Robert Altman’s films and his penchant for characters with interwoven narratives; or more obviously, and he’s often playing with scale, and his films have a very found object or handmade feel…CHEW-BOSE: Sort of like the puppets you grew up with in your parents’ theater? CHEW-BOSE: In terms of how the film was shot, nearly in its entirety on a theater set and on an actual stage—were there days where you asked yourself, “What am I doing? I understood that what I was doing was potential professional suicide, and that I could fall flat on my ass with this.
CHEW-BOSE: He anchors the narrative, especially in the way Tom adapted the novel, and the moments in which Levin returns. You know, I think still, to this day, women are supposed to be nice and sweet, and passive, and I don’t know many who really are like that all of the time, hardly at all.
That role that is put upon them no longer fits Anna. CHEW-BOSE: Similar to your other films, are similar.
I’m very interested in dance, and I’m very interested in how people express themselves through movement. It’s almost the point of cinema -it’s time-based and movement-based.
I worked with a choreographer, Sidi Larbi Cherkaoui, who’s done a lot of work with Akram Kahn, who is a choreographer in the UK.In one scene, the entire auditorium is transformed into a horse race. Elaborate murals swiftly glide in and out—what was moments ago a lavishly seductive ballroom, now, the somber dissolution of an unhappily married couple in bed.Starring Keira Knightley as Anna, Jude Law as her duty-bound, plodding husband, Karenin, Aaron Taylor-Johnson as her sallow-looking lover, Vronsky, and Domhnall Gleeson as Levin, the cast, much like the film’s choreography, is in constant rotation.He worked on a variety of productions in numerous roles, including casting director.Here he was able to get the opportunity to direct some music videos.He also took classes at the Anna Scher Theatre School and acted professionally on stage and camera.