Bright Wall/Dark Room spoke with James Bird about families – real, fictional, natural and otherwise.
An interview with Alissa Wilkinson
An interview with Matt Zoller Seitz
"It’s basically a coming of age story, but it appeals to me enormously because Kenny manages to both embrace the wonderfulness and beauty of adolescence and the shaping of an adult—how glorious it is, and what a great triumph it is for all of us that anybody survives their childhood or their adolescence."
"I think it’s a movie to really be proud of, no matter how difficult it was to make. I’m glad that Kenny survived it, really, and that everyone will gradually come to watch Margaret eventually. I think it’s something that will last."
"I find Joan's behavior embarrassingly human but endearing. As a middle-aged woman who is now a mother of a teenage girl myself, I think it's a strikingly accurate character-relationship dynamic."
"Kenny has such a deep understanding of his characters, and also a deep understanding of human behavior. The way his characters relate to each other just strikes me as completely real and relatable, in a way I find profound in its simplicity."
"I remember from a sort of a child-like point of view in a way—I’ve never felt like I’ve completely mastered what it’s like to be a grown up."
"I’ve gotten better at letting it go, but something like that scene sort of stays with you for a bit. It’s hard to shake that off after the work is done. It definitely involved a really long hot shower and maybe a bath and a martini or something."
Lauren Wilford goes long with director Guillermo del Toro on art, life, death, morality and movies.
“All images are questions. if you look at everything, a painting, an image, you can question… The way you look at it, what it brings to your mind, if it reminds you of something. My god."
"The weirdest thing is seeing yourself tattooed on another person's body. That's happened once. That took me a few days to process."
