After debuting his new, poetic short film, Charlie Kaufman teased a return to the theater.
The two met “at an artist’s retreat several years ago” and maintained a friendship, Kaufman said.features H.D. reading the piece, a cascade of hazy observations. If I’d been writing down all the remarkable turns of phrase I heard, I’d have been scribbling the whole time: One that caught me early was “All Thanksgiving he was drowning in the gravy of despair.”
As Eva speaks these lines, we follow her around her city—a mix of New York and Toronto. At first glance it may seem as if Kaufman and a small crew simply hit the streets, captured groovy images, and made a montage stew in the editing room. But in time, you realize this was not the case. Some of what you see is a direct reflection of what’s being said .
Kaufman called the film “an appreciation of the city” that “finds the beauty in various neighborhoods,” but admits that, like all New Yorkers, he has bad days. He said that the tome’s massive length “wasn’t intentional” and he “doesn’t think he’d do it again.” He said that the project started when someone asked if he’d write a novel and he thought he might as well, since “I didn’t have anything else to do.
As for other artistic forms, Kaufman said he would like to return to writing plays, particularly because “anything can happen” since what’s ultimately produced isn’t recorded. He did add, though, that attending theater is rife with anxiety for him. “I worry about people going up on their lines,” he confessed. Some of his friends say they thrive on that kind of accidental spontaneity, he nervously added. “This represents a larger problem in my life.
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