Susanne goes to Hollywood
Brimming with energy and confidence, it’s no wonder Susanne Bier landed on her feet in Hollywood. As her US debut hits the big screen, we talk to the Danish film director about Halle, Benicio and why it’s good to escape the yes-men.
words by Matt Bochenski
Susanne on lala land
Yet here she is with Things We Lost In The Fire. It’s a harrowing account of loss, addiction and redemption that replays some of the themes from Open Hearts while, free from the aesthetic restraints of the Dogme manifesto, conjures a gorgeous new landscape of tone, light and texture.
Halle Berry plays Audrey, a woman who seems to have it all, only for her life to be rudely interrupted by tragedy when her husband is murdered. To keep her family from falling apart, she invites her husband’s best friend, a recovering heroin addict played by del Toro, to stay with them. What follows is a brilliant drama that feels its way along the fault-lines of loss and recovery, powered by two urgent, un-starry performances from both leads. It’s a triumphant entry into the American market from Denmark’s favourite filmmaker.
Sterling: Even though you’ve had great success in Europe and been nominated for an Oscar, did you feel as if you were starting again, making a film in America?
Bier: Obviously I’m much less of a recognised name so it is different, yes. But I felt very confident because I’ve done enough films to know what I can and can’t do. Of course, there was a little bit of apprehension but I think it’s been very good for me. One of the most frightening things in life is that when you reach a certain level, people stop opposing your opinions. I’m almost worried that I’ve proved myself right in Scandinavia. I’ve done a number of films and they’ve been hugely popular but I want people to keep questioning me. One of the reasons for doing this film was to try and retain a situation where people keep questioning me. I think it’s dangerous to become too comfortable.
Sterling: Did you find it difficult to adapt to the Hollywood studio system after working in Europe for so long?
Bier: No, I actually enjoyed it, which is surprising because I was expecting it to be really hard. In Europe there’s an auteur tradition. In America there is a tradition of movies being made by the studios, and obviously that is a completely different situation. The difference with America is that they ask lots of questions but I don’t mind that – I find them healthy and refreshing. At times you’d rather not have the questions, but you’ve just got to find a way of addressing the important ones.
Sterling: So you never stamped your foot and demanded, ‘Don’t you know who I am?!’
Bier: I think the studio would say that I did that, but I wouldn’t say I did! That attitude is not always the smartest attitude. Sometimes it’s smarter to listen and understand. You know, I actually did try and understand what their hesitation was and then I would assess whether I thought they were right, and whether I thought it made sense or not. And if I didn’t think it made sense I wouldn’t address it.
Sterling: Did you find it intimidating working with such Oscar-winning stars as Benicio del Toro and Halle Berry?
Bier: No. The thing is, you’re at work. If you want to do a movie these are the kind of people you should want to work with. They’ve got Oscars because they’re great actors so I respect them. When you’re making a movie you aim at the top – that’s what you do. If you feel intimidated, you should probably just start selling tomatoes instead.
Sterling: What do you think about the state of Scandinavian film making at the moment?
Bier: I think [the industry] is still in good health, although I am concerned that they’ve changed the support system, particularly in Denmark. They want the producers, which in Scandinavia means the studios, to have much more power than the script editors at the various film institutes. I’m concerned about that because, firstly, I don’t think that they are such great readers, and secondly, I don’t know whether they are capable of assessing the quality of a work.
I think they will merely consider whether a film is going to do business or not. And actually, if you look at movies that have done business during the past 10 years, the obvious ‘money-makers’ haven’t been that successful. So I don’t think they can evaluate whether they will do business or not.
Sterling: Is there more of an appetite among Scandinavian audiences for national cinema over and above Hollywood?
Bier: There’s tremendous support for national cinema. You don’t get a large audience that is necessarily experimental in all the movies they see, but all my movies, which elsewhere are distinctly labelled art house, are considered totally mainstream in Denmark. So I guess that the taste might be slightly more discerning there.
Sterling: Are there any young Scandinavian filmmakers whom you think are worth keeping tabs on?
Bier: There are a number of films that are excellent but I’ve only seen them sporadically. However, I’ve seen a number of excellent documentaries. I think that there are some strong documentaries coming out of Scandinavia, and there are some really strong fiction directors in Scandinavia as well.
Sterling: Do you see yourself as a figurehead of Scandinavian film?
Bier: Like, there is the football team and then there is me? Yes, to an extent. I feel like I do with my family – I don’t want to disappoint them! I don’t want to disappoint my extended Danish family. I can’t promise that I won’t, but I will do my best not to.
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