Your films to this point have such power on me when I look at them in terms of being felt as I am trapped in a nightmare that I cannot wake up. Looking at “the monkey”, then describing it to friends to me, I realize, “oh, it seems that I describe a strange dream that I had.” Do dreams inspire you at all in your work? Do you have a direct interest in trying to translate this experience on the screen, or is it just a by-product of your work?
It came to my mind more than more than I give interviews, how much what I do comes from an unconscious place. Usually what I generate comes from things that I absorbed and forgotten, or absorbed and is somehow enough in the sediments so that now it is no longer aware. And things will come out, especially during the writing of something like this film, where once I absorbed the news, I have never watched it again. And then I was surprised after writing it and I made the film to watch Stephen King’s book “On Writing”, and realize how much I had read years There is use in the film. The relationship with the baby -sitter, the things with the parents – many things were removed from it and I had completely forgotten all of this.
So I don’t necessarily know that dreams … I am not someone who wakes up and written his dreams and then uses these things. But I think the unconscious works in my favor. I managed to connect to it in the process where I don’t even know that it happens, which, I suppose, makes sense because it is the unconscious.
But was it something conscious on your part, or is it more unconscious in terms of change of style on this film?
I think it’s really a question to do what is necessary, right? And so if you look at everything you create as a task, either it is from a boss, either it is from your mind, or it is the idea that you had, or the muse or the source or what you want to call it. We give you this mission to honor this thing that exists, whether you want it or not, or that it exists in a way – whether you were going to do it or not, it is there. And it is my work to find it and put it in its place, or to give it a form, to give it shape, then to give it.
So, with that, the confluence of things is like: “Well, I have the opportunity to do something Stephen King. Oh, it’s” the monkey “.” The toy monkey is like this thing that everyone, whether they could verbalize it or not, there is one thing to look at a toy monkey like that, which is a strange thing where you are revulted, but you think that c ‘is a kind of cute and funny and player, but it’s horrible. There is this strange relationship with her. But I knew that everyone had something about it, so I knew the poster was going to be the monkey. It had to be fair, what is it going to be? It’s like the F -ing monkey. It’s the title, it’s the thing.
And then you see a smile on it and you are like, well, you could somehow go in the obvious way and make a bad smile that is dark. Or you can go for the Lér and feel like there is a kind of player. There is a kind of surreal player to that. So, it has somehow evolved that I couldn’t see myself trying to make a serious possessed toy film. And also the fact that he was going to be a meditation to death was like a disappointment. If you are going to do a downer on this subject, you might as well give an uprising. This is a subject of conversation quite delicate for most people, so you might as well throw it with a smile.
