to you where to be true to the treehouse
Club pending anyone should ask you to
join the ninth Street club I will laugh
in their faces Patricia Rosemont is one
of Canada’s most successful and
recognized artists famous for works in
which willful imagination asserts itself
despite Convention and self explanation
hi welcome to watchmojo.com I’m your
host Ashley and today the chance sit
down with the brilliant filmmaker self
to talk about what it was like to work
with an Academy nominee and her film
career so Patricia can you tell us a
little bit about your latest film the
kit kittredge it’s about a little girl
in 1934 abigail breslin whose deals with
the depression the Great Depression of
1930s and Cincinnati and she has to
confront something that many people
around the world except wealthy
Westerners have to face which is reduced
circumstances like their family loses a
car their family has no fall in their
families to take in boarders it’s a
family film it’s not just a kid’s film
parents can go to and feel really
engaged emotionally and what was it like
working with Abigail he was such a
versatile actress she’s very very
thoughtful little girl and very am she’s
a little bit dreamy in her own world
when you sometimes when you’re giving
her direction you’re thinking is she
hearing me and then click click click
click it’s all you know she’s
registering at all and putting it in
there and has a gravity sometimes it’s
really heartbreaking sometimes you look
I’d freeze on a frame while I was at any
I think that girl was a thousand
thousand years old what was like working
with like a family film producing a
family film opposed to normally your
characters are very romantic the
approach i took making a family film was
not to change my start the big
difference is
that you’ve got a child as your central
character and you don’t use words that
are beyond their abilities and you don’t
have sexual innuendo and you don’t scare
the Wits item you know just make it
gentle thoughtful keep the pace up keep
it moving so you studied English
philosophy and journalism how did you
make your way into filmmaking I saw a
couple of films by Ingmar Bergman he was
a Swedish filmmaker who was a real poet
and it wasn’t just about telling that
snappy story and hooking me early it was
it’s like a poem and it’s like a dream
when it’s and I was immediately
attracted to somebody who could talk in
such a different line which is like a
type of music you’d never I’d never
heard before I tend to think if you’re
focused on the technology you are
missing the point that the technology is
a pencil you can write whatever you want
with that pencil it’s funny that you get
into family films what do you ever want
to do a comedy a horror I am interested
in surprising myself and staying alive
all the time I only choose projects that
I think oh that would be an interesting
challenge do I think I think I could do
that would be exciting too but this and
this together do that thank you so much
what’s next something beautiful
something low blow your mind
Club pending anyone should ask you to
join the ninth Street club I will laugh
in their faces Patricia Rosemont is one
of Canada’s most successful and
recognized artists famous for works in
which willful imagination asserts itself
despite Convention and self explanation
hi welcome to watchmojo.com I’m your
host Ashley and today the chance sit
down with the brilliant filmmaker self
to talk about what it was like to work
with an Academy nominee and her film
career so Patricia can you tell us a
little bit about your latest film the
kit kittredge it’s about a little girl
in 1934 abigail breslin whose deals with
the depression the Great Depression of
1930s and Cincinnati and she has to
confront something that many people
around the world except wealthy
Westerners have to face which is reduced
circumstances like their family loses a
car their family has no fall in their
families to take in boarders it’s a
family film it’s not just a kid’s film
parents can go to and feel really
engaged emotionally and what was it like
working with Abigail he was such a
versatile actress she’s very very
thoughtful little girl and very am she’s
a little bit dreamy in her own world
when you sometimes when you’re giving
her direction you’re thinking is she
hearing me and then click click click
click it’s all you know she’s
registering at all and putting it in
there and has a gravity sometimes it’s
really heartbreaking sometimes you look
I’d freeze on a frame while I was at any
I think that girl was a thousand
thousand years old what was like working
with like a family film producing a
family film opposed to normally your
characters are very romantic the
approach i took making a family film was
not to change my start the big
difference is
that you’ve got a child as your central
character and you don’t use words that
are beyond their abilities and you don’t
have sexual innuendo and you don’t scare
the Wits item you know just make it
gentle thoughtful keep the pace up keep
it moving so you studied English
philosophy and journalism how did you
make your way into filmmaking I saw a
couple of films by Ingmar Bergman he was
a Swedish filmmaker who was a real poet
and it wasn’t just about telling that
snappy story and hooking me early it was
it’s like a poem and it’s like a dream
when it’s and I was immediately
attracted to somebody who could talk in
such a different line which is like a
type of music you’d never I’d never
heard before I tend to think if you’re
focused on the technology you are
missing the point that the technology is
a pencil you can write whatever you want
with that pencil it’s funny that you get
into family films what do you ever want
to do a comedy a horror I am interested
in surprising myself and staying alive
all the time I only choose projects that
I think oh that would be an interesting
challenge do I think I think I could do
that would be exciting too but this and
this together do that thank you so much
what’s next something beautiful
something low blow your mind
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