Lauren Bacall on the unique mind of Lars von Trier: “I mean, what the hell?”
There is perhaps nothing more daring, borderline disgusting and repulsive than the cinematic mind of Lars von Trier; a mind so genuinely twisted that it puts self-described provocateurs like Sam Levinson and Emerald Fennel in diapers.
While Fennel might have tricked mass audiences into thinking she’s pushing boundaries through the sight of Barry Keoghan dry humping a grave, the likes of her and many others could only dream of creating the kinds of genuinely subversive and fucked up films that von Trier has built an entire career out of. Shock cannot solely rely on appearances, and the juicy inner meaning of his work makes him the true reigning king of shock cinema.
Over the years, the director has gained a mysterious reputation as someone who is both feared and revered, with some actors being traumatised by the lengths he goes to capture his visions and others being completely enamoured by his creative madness. Whether it be Nicole Kidman’s experience while filming Dogville, in which she had to wear a metal dog collar for the majority of the production, or Charlotte Gainsbourg’s exploits while filming Antichrist and the two Nymphomaniac films, there are some who wouldn’t touch his projects with a ten-foot pole, and others who would gladly do anything to be a part of his carnivale.
This was certainly the case for Lauren Bacall, who described her longing to be involved in his inner circle and the project that changed her entire approach to filmmaking.
Unconventional is certainly a word that springs to mind when thinking of von Trier’s creative philosophy, honing in on the darkest aspects of humanity and making us all suffer through each story while we reckon with the very worst of the world. But despite this, his narratives are still a rather fun thing to be a part of, with Bacall describing his unique approach to his craft and how this stayed with her.
She reflected, “I adored Breaking the Waves, so when Lars von Trier wanted me in Dogville, I was beside myself with joy. He works in a way that nobody I’ve ever worked with works. He holds his camera on his shoulder, and you might be in the picture and not know it, so you have to pay attention.
“It’s all very weird, all of that. We had to forget everything we never learned about making movies. But it was a great experience, and I’m all for new experiences. I mean, what the hell? I’m not going to play Scarlett O’Hara now, so I better just [go for a] great new experience.”
As one of the original creators of the Dogme 95 movement, von Trier became famous for his use of handheld camera movements and this scrappy, DIY quality that Bacall describes. While some directors distance themselves from the action and try to give the actors more space, Trier does not seem to work this way at all, instead involving himself in the heat of the action and enmeshing himself with everyone performing. It’s a fresh approach that might catch some people off guard, but one that Bacall clearly welcomed and has stuck with her for a long time.
