"I wanted to make these people real, not like they were in a painting. Like these are people who don't know they're in a period movie. Those concerns are incredibly immediate"
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LaBute is quietly declaring war on the museum-glass version of history. “Not like they were in a painting” isn’t just a knock on tasteful cinematography; it’s a jab at a whole prestige grammar that turns the past into décor. Paintings are composed, already interpreted, safely framed. People, by contrast, are messy, self-justifying, horny, petty, scared - and they don’t walk around narrating their own significance. His insistence on characters who “don’t know they’re in a period movie” is a meta-correction aimed at audiences, too: we watch costumes and assume distance, moral clarity, a sealed-off set of rules. LaBute wants to revoke that comfort.
The line also telegraphs his broader project as a director: stripping away the polite alibis that period settings can provide. When he says the concerns are “incredibly immediate,” he’s not claiming modernity is everywhere; he’s arguing that emotional logic doesn’t evolve on the same schedule as technology. Jealousy, status panic, the need to win a room, the way love can curdle into control - those don’t require smartphones. The subtext: if you’re watching a “period” story as anthropology, you’re missing the point and letting yourself off the hook.
Contextually, it’s a push against heritage cinema and stagey “literary” adaptations where everyone seems to pose for meaning. LaBute’s ideal past is not quaint; it’s inhabited. The period trappings stay, but they stop being the reason we’re there.
The line also telegraphs his broader project as a director: stripping away the polite alibis that period settings can provide. When he says the concerns are “incredibly immediate,” he’s not claiming modernity is everywhere; he’s arguing that emotional logic doesn’t evolve on the same schedule as technology. Jealousy, status panic, the need to win a room, the way love can curdle into control - those don’t require smartphones. The subtext: if you’re watching a “period” story as anthropology, you’re missing the point and letting yourself off the hook.
Contextually, it’s a push against heritage cinema and stagey “literary” adaptations where everyone seems to pose for meaning. LaBute’s ideal past is not quaint; it’s inhabited. The period trappings stay, but they stop being the reason we’re there.
Quote Details
| Topic | Movie |
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