The filmmaker also talked to Jezebel about Dalí's life in '70s New York, portraying his muse Amanda Lear as trans, and working with Ezra Miller.
What do we gain by creating a sanitized version in the present? I just feel like we should deal with it. Not that I want to create something that’s oversexualized or exploitative or whatever. But these are the things that people do. Do we want to understand our history and what humans are capable of? I had this very much with. A lot of people were very offended that I chose to tell the story of those women [the so-called “Manson girls”]. But it was like, well, we need to know.
You’ve been making these bold choices since the ‘90s. Has it become more difficult to have that ethos and really stick to it?I don’t know if it’s more difficult. It’s just coming from a different direction. I haven’t felt so much on this one, but maybe there will be some on this one. Consistently, all the way through, it’s been: “Why are you making films about these awful people?” I guess that’s probably the key note of everything I’ve done.
There are aspects of Dalí’s that you could have included that would have created an even darker portrait of him. Like theI thought of that. I guess the thing about Dalí is I don’t think he had strong political opinions. He was a tremendous coward. And he was so attached to Spain, and basically in order to live in Spain, he would kowtow to the fascists. To do that story is so complex, because his last dying words were to Federico García Lorca, who he had really abandoned.
I do believe she is. I met her when I was very young. I interviewed her for a music magazine when I was very young in Paris. And I mean, honestly, that was the first thing that anybody ever said about Amanda before you met her. It’s kind of cruel, there’s been a lot of investigation into her by French journalists. They found her original passport and ID papers. To me, it’s pretty clear that she is trans. Andreja Pejić and I talked about this. Andreja obviously is out and proud about being trans.
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