When there’s no tomorrow, every second counts. “She Dies Tomorrow” follows Amy (Kate Lyn Sheil) as she prepares for her future—or lack thereof—convinced she’s going to die tomorrow. Her friend Jane (Jane Adams）访问她，叶用相同的概念。他们的死亡肯定只传播给他人。
As Sheila O’Malley writes in her review, “the style is experimental yet coherent.” Writer/director埃米·塞梅斯的作品是独一无二的，可怕的，同样有趣，听上去很像。这是无法解释的，Seimetz追逐我们不是叙述，其中人物凝视着眩目，七彩灯重复序列中表现最好的体验更加轰动。
A true jack of all trades, Seimetz has been showrunner on television seasons, starred inStephen Kingremakes, and even directed two episodes ofDonald Glover的‘亚特兰大’。在她的第二个特征，因为编剧/导演，她推她的影片和新的，令人惊叹的高度。我最近采访了Seimetz（几乎），并试图跟上。
What drew you to the ideas in the film? What were your influences?
在现实生活中，它处理的是焦虑。然后，我总是有自己的生存恐惧。所以，我真的很想拍一部关于一个女人谁只是某些她打算明天死。还有它周围还有没有办法;它仅仅是一个事实。但我不想因为这样就变成了电影，讲述病情，使其对疾病或任何东西。并且 ”Contagion” had already been done, and it’s perfect!
To get at the heart of it, I wanted it to remain existential, and be this monster movie where you never really see the monster, and that the monster really is just these ideas of facing your own mortality.
Yeah I mean, I personally I don’t find the idea of death abstract! [laughs] Not to correct you because it’s just—we’re all gonna die. It’s the most real thing, it’s the only thing you can really depend on. Like everything changes in life, but you’re going to die at some point, you know? What’s the saying? “Nothing is more certain in life than death and taxes.” Taxes might go away, who know? Depends on who’s president! But death—there’s no way around it.
And then in addition to that, I’ve dealt with a lot of loss in my life. And so it’s a very real thing. And sort-of infusing it with the existential dread and fear, but then also, the laughter and humor, the gallows humor that comes out of these moments. Because during some of these very hard or trying times, I find that I laugh really hard, because things become even more funny, because of how dire the situation is.
Jane brings up the Camus phrase “humans are the only animals that pretend to be something else.” What does that phrase mean to you?
You know, like it can go either way, like “what’s the point?” or “let’s see what we can do, because, we’re gonna to die!” And so I sort-of wanted to explore that. But with animals, dolphins are the most fascinating to me. One, because I grew up in Florida, but, two, because they’re one of the only animals that have sex for pleasure, which is like, it’s weird to think that. It’s weird to think that, “oh, interesting, this animal is doing something for pleasure,” which then your brain starts thinking if you have pleasure you have like a higher conscience. They’re seeking pleasure other than just food and survival. And so, that to me, that sort-of quote got at the essence of like, why are we all behaving like we’re not going to die? And why are we not talking about this more?
I mean, I’m not saying I’m a buzzkill! But like, maybe a little bit sometimes when I’m going through something dark or dealing with my Dad’s death or any of these other things. I’ve found it incredibly hard to talk about career or you know, what new shoes I was going to get or talk about anything besides “let’s talk about death!” And it’s not really a party topic of conversation.
I really relate to that feeling, like “why are we talking about something else? When there’s this thing we’re all staring down.”
It’s interesting right now, with COVID and quarantine and everything. What’s interesting is right now, it’s unavoidable to talk about it. You know? Any other time, you wouldn’t acknowledge “are you doing ok?” on these professional meetings that I have. Like, the beginning 15 minutes of any Zoom call or any conversation I have is dominated with “Are you doing ok?” “How are you doing during these times?” “Is your family doing ok?” Like in a way that is not normal in most business settings.
对了,你们t at the same time it can feel so much more difficult to connect with people, because all these meetings are happening over Zoom, and the amount of face-to-face conversations is so much lower.
Yeah, I mean there’s a bit of a silver lining to the situation in that I talk to my friends a lot more, and for longer periods of time. Whereas when you’re working, and you’re caught up in everything, you don’t have an hour to talk to your friend that you went to college with!
It’ll be interesting when we go—I mean, there is no going back, there’s only going forward—but as we’re able to sort-of socialize [again] I wonder if all of us will remember that it’s important to connect.
You’ve said before that you get your best performances out of people you’ve already worked with, and you’ve assembled such a great cast for this film. I was just watching Jane Adams in “幸福”那天晚上。她太赞了。
她是如此的不可思议！我是一个大风扇的“欢迎光临娃娃屋”Todd Solondz”第一部电影，然后当‘幸福’出来这是对周围的时候，我很喜欢“我要拍电影。这就是我要做的。”我看过“幸福”，我很喜欢：“噢，我的上帝，我因此受到她的表现交口称赞。”她只是如此怪异和太有趣了。但是，你也觉得一切她做。然后当我见到她，这是当我们在“亚历山大的最后”几年前做的，为Joe Swanberg- 我只是太激动了，她打算在影片中！她的样子，我最喜欢的女演员，我最喜爱的女主角。
I’m also lucky to be her friend, so I wrote the part for her, so that she could feel like she could [make choices], instead of feeling like “now you have to find into this box.” And the same with Kate Lyn Sheil, who plays Amy (and I have done this for Kate before with “Sun Don’t Shine”) is like, being excited to write something for somebody, where you’re like, now you get to玩。It sounds like I’m saying that I can predict what they’re going to do, but it’s more like “I see so much in you, and I want to write this so you really get to play. You get to play up your strengths and really go for it. Here’s the box, go for it, go crazy in it.”
I mean this in a loving way, but sometimes directing is like herding cats. Where you’re just like trying to get these crazy personalities to just sort-of like, “Ok, we’re all going this way!” But at the same because there’s so much trust in the people I work with, and I’ve worked with them for years and years and years, they also instinctually know what I want, so half of your job as a director is casting the right person, so you don’t have to over-explain things. And then in addition to that, because I know them we have this shorthand.
Oh gosh! Whenever somebody asks me something like this my brain always goes blank. I mean I loveFrances McDormandso much. I would write a feature for her and Jane to be in. And Kate will obviously be in it.
Is there anything you would like to say about the film that you think people have been missing?
It’s best to not know what you’re getting into. My intentions were to give you an experience, instead of just watching a movie. To take you on an experience, sonically and visually and emotionally. And also, hopefully it doesn’t haunt you the way that a lot of these interviewers have told me it’s been haunting them! [laughs]
Oh yeah, it was hard to fall asleep afterwards. I felt like I was high, but not happy.
Yeah, exactly, yeah that’s a good way to describe it. [laughs]
You’ve worked extensively in television. Why did this stick out to you as a feature instead of a show?
Well Jane Adams really wants it to be a TV show. She was like “can we just keep shooting?” And I was like “I don’t have that much money!” Because I self-funded it [the film]. And she was like “but it can be!”
For me, because I have been doing long format and television—the energy of the film, it was very fever dreamy. And it felt like there needed to be an immediacy to it. It needed to be like, jump in, go, hit the ground running, and then just stop. Almost like an anxiety attack, or a panic attack, and then it quietly goes away.
如果你曾经经历了恐慌或攻击一个xiety attack, it’s sort-of like you have to let it run its course, and you can’t fight it, or else the panic attack becomes worse. So sort-of the structure of what movie follows is like sort-of what it feels like to have a panic attack. It gets worse, and it spreads, and it feels like you’re never going to get out of it, and then eventually it calms down once you accept it’s happening. Which is sort-of the way the rhythm of the movie follows.
I’m such a big fan of the two “Atlanta” episodes you directed. I was wondering: are you planning to direct again on the third season?
We had been talking about it! But they were supposed to go into pre-production in April, so I had been talking to them about it, and then obviously that got shut down. It all depends on my availability, of like what I’m shooting at the time. But yeah, I would love to, I love them so much. Like Hiro [Murai] and Donald [Glover] and Christian [Sprenger], the cinematographer, who also shot戴夫·弗兰科的电影！我爱基督徒，我真的很想和他再工作，但整个剧组和演员和Zazie [Beetz]大家都不过如此惊人。
What I love about that show so much is that it plays by its own rules. And Donald is so brilliant and so is Hiro and that entire writer’s team at allowing it to be weird and funny and not needing it to be punchy funny, it’s like so original and in my opinion probably the best [show on television]. I mean, I had never directed somebody else’s work and I usually say no, but then when that show came along I was like, “this is the best show on television, I have to do it.”
Yes. But maybe not. [laughs].