![]() ![]() That kind of loneliness and longing and need for connection, and what connection means and what intimacy means to us. I think that the movie, to me, is more about our relationship to each other, and our need for intimacy and connection, and the difficulties within ourselves that make that challenging - and the limitations within ourselves that prevent intimacy or connection when it’s that thing we need, maybe the most. But I can say, one of the things that I think is worth talking about - or maybe it’s not even worth talking about - but at least for me seemed important to talk about, in terms of the movie, is I think that, you know, something you said earlier in terms of our attachment to our devices I think that the movie is, to me at least, like our relationship with technology is kind of the setting for the movie, as opposed to what the movie is necessarily about. I don’t know, I can’t because it’s hard… I’m hesitant to wanna explain that much stuff. What inspires something like that moment? It’s a such a perfect synthesis of sound and image. One of my favorite shots in the film is when Joaquin Phoenix is lying on the bed staring into the swirling dust particles, and “Samantha” is talking about disappearing into the spaces between. I’m reminded immediately of a scene in Her. I’m still lying on the bed, the diffuse light of New York fall mingling with the traces of lavender mist. Jonze takes out his iPhone and snaps a picture. Jonze: I did it on Being John Malkovich and I don’t think I said anything. ![]() And it’s like, “Hey, boxers or briefs, Spike Jonze?! Can you give me a high five?!” You get to look paralyzed as a bright light burns out your eyes. Jonze: You don’t get to lay down on a bed in a video interview. Jonze doesn’t like to do video interviews. It’s one of the keys to Her‘s success: as sincere and serious as the emotions threaten to get, the movie’s also infused with the sensibility of the guy who co-created Jackass and directed music videos for the Beastie Boys. Scampering around the hotel suite in a tailored suit, button-up shirt and his signature skater sneakers, he’s more like an excitable 12-year-old eager to show off his latest project than the 44-year-old director of Being John Malkovich, Adaptation and Where the Wild Things Are. But then, Spike Jonze isn’t exactly a regular guy. “My first question is… ” I pretend to snore, loudly. Then, leaning in, with an almost subliminal whisper: “What’s your first question?” “This is a calming mist,” he says, spritzing and fanning its lavender contents around the bed. Jonze produces a small bottle from the hotel bathroom, while I lay, arms folded, eyes closed. I hadn’t expected to find myself lying down, being examined by its director. We’re in a suite at New York’s Crosby hotel, presumably to do a press interview for Her, Jonze’s near-future romance between a man and his computer’s operating system. Not too many interviews begin with such a peculiar request. “ You’re gonna lie on the bed,” Spike Jonze says to me. ![]()
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