Taylor has been silent on radio on social media for most of the time. She gave her opening speech at NYU last month, but became even more personal here, revealing how her film production has been influenced by John Cassavetes and Barbara Stanwyck. (Her mind!) She screened the film and starred Sadie Sink and Dylan O’Brien. And to top it all off, it ended with a solo acoustic performance of “All Too Well”, all 10 heartbreaking minutes. Taylor embarked on a hardcore cinematic function, suitable for such a prestigious film festival. She summed up her goals with a quote from Cassavetes: “I have never seen a helicopter explode. I have never seen anyone go and pop someone’s head. So why make movies for them? But I I have I saw people destroying themselves in the slightest way. ” Swift added, “Wow – me I felt that.” Mills was a very compassionate host – like Dad in the song, he was fascinated by her self-deprecating jokes. He has directed a video for The National, as Swift explained, “We are both in Aaron Dessner’s movie universe, which is a nice place to be.” He talked about how much he was inspired by the 2019 Mills I Am Easy To Find short film. They had a perfect relationship – when she praised her narrative talent, she said, “Are you very good at…?” She shouted “Drama?” They also joked about her persistent insistence on doing things her own way. He laughed at one of the biggest laughs at the event when he said: “People often underestimate me for how much I will bother myself to prove something.” Mills is an artist who is clearly not used to hearing a theater full of screaming fans. As he said, “This is how all my questions and answers go.” He was obviously shocked by the enthusiasm of the fans. There was a moving moment when Mills joked that he would feel depressed when he mentioned his movies and no one screamed. Swift said, “I’ll show you. Who here has seen a movie called Come, Come? After a huge roar from the fans, she told him: “They are very nice. Not just me. ” She got into the nuts of her directing process, down to the fonts and the camera lens. “This is not a music video,” he explained. “We approached everything differently.” On the kitchen stage, he said, “I wanted to be so close that I could count freckles.” For the first time, she was interested in filming on the set of her music videos. As he joked, “It started with mixing.” Her first direction was her video for “The Man” in 2019. “Once I started directing music videos, I did not want to miss it.” She talked about her identification with the heroine, played by Sadie Sink. “I really write a lot about girls,” he said. “I am very fascinated and I have always participated in this phase of becoming a young woman, where you are at this very fragile and vulnerable age. “I think 19 and 20 is such a profound age for young women.” He described the heroine as “a bubbling, strange young woman who ends up completely over her head”. Swift pointed out the Easter eggs buried deep in the film, such as the red typewriter the heroine uses to write her novel, which first appeared in the dude’s apartment. As Swift sees the story, the typewriter is a gift he gave her, to encourage her as a writer, because she saw her creative spark from an early age. It was a surprise to hear her talk about identification with the male character, whom she sees as both positive and negative. Mills added, “It’s a crazy journey to be a man, let’s be honest. He swims like a man. ” In one of the most astonishing revelations, he discussed how the end of “All Too Well” was influenced by a classic 1930s movie. That scene of the ex-boy standing outside the heroine’s book reading the cold? Swift was inspired by the last scene of King Vidor’s 1937 film Stella Dallas, when Stanwyck had to watch her daughter’s wedding through a window. (Swift / Stanwyck connections are deep – one of Barbara’s most underrated cries is My Reputation. FWIW, the movie legend was born in Brooklyn, where the song takes place, and died in 1989. I could go on, but Let’s just say this is a great time to be a Swiftie who is also a Stanwyck fan.) He brought Sink and O’Brien to talk more about the characters. (“I named her and Him,” Swift said.) They revealed that the main scenes – the kitchen controversy, the final separation – were written in advance, but when it came time to have the kitchen dialogue, they threw it out. scenario. “What you saw was mostly optimization,” Swift said. They also talked about the strange journey of the song, which looks like nothing else in pop history – an underrated deep cut that turned into Number One a success in its expanded 10-minute version. As Swift pointed out, she was never single, “because the record label was never going to choose it.” However, the lost version of 10 minutes became an obsession of fans. “I promoted so many albums, I did so many tours and I did so many meetings and greetings. And every time, I said, “When are you going to release the 10-minute version of ‘All Too Well?’ You just won’t let it go.” She took the quote from Pablo Neruda that serves as her caption for the short film: “Love is so short, oblivion is so great.” He called it “a line that haunted me and still haunts me. “It’s violent to read something so moving.” (The great Chilean poet was a world legend in his life, but even Neruda never imagined how future generations would literally scream at his name. One of the people applauding at home: Jim Jarmusch, one of the most of the planet legendary directors. Let us pray for “Stranger Than Paradise (Taylor version)”) But the culmination of the event came at the end, when Swift grabbed her acoustic guitar and asked the crowd: “Do you have an extra 10 minutes?” As expected, everyone did. Swift performed the full version of the song, strictly solo, something she only managed to do once before at the film’s premiere last November. (Which was also on Broadway, a few blocks away.) As in the movie screening, the loudest moment was for the audience to shout the line: “Damn the patriarchy!” The main line of the extended “All Too Well” is when he asks: “Right between us, the love affair crippled you too”. One of the things that always sets her apart as a songwriter is her unique ability to make even the most magnificent stadium-sized gestures feel like a familiar “Just between us”. Her appearance at Tribeca was a rare in-depth look at how she makes this happen in cinema, just as she does in music.
