We spoke with 'Deep Water' director Adrian Lyne on his 20-year hiatus, what he cut from 'Jacob's Ladder,' and more!
[Editor’s note: The following contains spoilers for Deep Water.]From director Adrian Lyne and co-written by Sam Levinson & Zach Helm, the psychological thriller Deep Water shines a spotlight on the marriage of Vic and Melinda Van Allen, which is picture-perfect from the outside but endlessly dysfunctional from the inside.
RELATED: ‘Deep Water’ Review: Ben Affleck and Ana de Armas Star in an Erotic Thriller Without Any of the Promised Eroticism LYNE: People kept on saying that to me. To make me feel better, they said, “Oh, it’s just like getting on a bike. You’ll be fine.” What I was anxious about was shooting digitally rather than with film, but I really enjoyed the experience. I’d never done that before. I liked the fact that it felt more spontaneous. The lighting took less time. I could use available light quite a lot, which I love. I like working with Eigil [Bryld], the cameraman. I found it fun, really. I felt that I didn’t sag.
LYNE: It does. What I tried to avoid, to be honest, was an “arrangement.” I wanted you to be dumped into a relationship that is in tatters, if you like. I didn’t want to feel that he said, “Well, you can go out and screw whoever you want, and eventually you’ll come back, and you’ll be happier with me.” I just thought that was detestable. I wanted you to feel that this was a marriage where the relationship had gotten out of hat. He’s trying to deal with it and he’s trying to be urbane.
LYNE: I always take a long while because it’s such an agonizing process. This one was complicated because the two characters are so bizarre that you are fighting to keep it not so surreal that it becomes unbelievable. There can’t be a moment when the audience goes, “I don’t believe that. That’s silly. Now, you’ve lost me.” And that’s terribly easy to happen. So, this took a long while, just in terms of getting the pace right, and getting people to believe that this guy loved his snails.
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