It was the literal visual correlative to that idea. It was all about coming up, if I can use a pretentious term, a visual objective correlative for the narrative idea that the obsession was going to swallow her up.
Then there was a visual effect at the end with the mountain and the sky because otherwise it looked too much like a greenhouse. I can't imagine what the neighbors thought. It was very funny to see these greens people coming in with huge palm trees and you're in the middle of Northern Ireland. It was a very strange set because we had this Victorian house in Belfast and we created this long corridor. So right before filming I had scouted this Victorian house and there was this mirror so I thought she could walk off into the jungle, literally. He's combining two different spaces and all that. And there's all this stuff at the end with Henry Fonda, and it's a psychoanalysis and he's talking about, "I don't know what I was doing, I was in a house." And it cuts to him in the house with Henry Fonda. I was watching an excellent movie, " The Boston Strangler," with Tony Curtis.
And the inspiration came from a weird source. I thought about how we're going to deal with this. You can't just cut in the Royal Geographic Society with the compass and all that. But I couldn't figure out a way to express that his obsession became her tragedy. So how do you put two people in the same frame walking away from each other?īut this ending I struggled with. It's a love story that's never consummated thankfully and the worst people ever connecting but not connecting and I thought there you couldn't kill one of them off. It was there from the beginning because it was a story about codependence. In the case of " The Immigrant," that final shot, which I quite like, was always in the script. Can you talk about the shot and how you did it and the reasoning behind it? You've had two movies back-to-back with amazing final shots. It's a staggering shot, as subtle as it is complex, and when we sat down with Gray a few weeks ago to talk about the film, a large majority of that conversation was centered on this incredible shot. In the final moments of the film, Miller, who plays the wife of presumed-dead explorer Percy Fawcett, walks down the stairs of the stuffy Royal Geographic Society, and, as we glimpse in a hallway mirror, we're staring into the Amazonian jungle that took the life of her husband and child.
#Lost city of zed movie#
But what might be the most dazzling thing about a movie almost exclusively filled with dazzling things is the final shot of the film. If you saw director James Gray's thrilling " The Lost City of Z" this weekend, then you were undoubtedly blown away by the film's true-life story of obsession and Amazonian exploration and the finely calibrated performances of the cast (led by an impeccable Charlie Hunnam and Sienna Miller).
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