Julianne Moore & Todd Haynes Talk The Magic Of ‘Wonderstruck’ [NYFF]

“Wonderstruck” is a film unlike any other, binding two very different time periods together into one cohesive cinematic experience. The cast stopped by the New York Film Festival on Saturday to discuss the film’s magic, why it might resonate with both children and adults, as well as its influences. Featuring a cast of extremely gifted young people including newcomer Millicent Simmonds, Oakes Fegley (last seen in “Pete’s Dragon“) and Jaden Michael (known for his work on “The Get Down“), the trio does a great job of showcasing talent well beyond their years. With a little help from veterans Michelle Williams and Julianne Moore, Todd Haynes was able to create a unique and visual experience for the audience which was palpable and original in terms of storytelling. “The film came through special delivery from Sandy Powell, our costume designer who got to know Brian Selznick after working with him on the film “Hugo“, Haynes said about the origins of the picture. 

READ MORE: Todd Haynes’ Lovely, Gentle, Sentimental ‘Wonderstruck’ With Julianne Moore [Review]

Powell boasts an impressive resume, working with some of the best filmmakers today including Martin Scorsese, Yorgos Lanthimos, Neil Jordan and Julie Taymor. “I was in the middle of doing post-production for “Carol” and I remember opening up the first page and I could tell right away that [Selznick] had adapted his own book for the first time, and given it such profound cinematic consideration,” she said. Haynes went on to say that it was “auditory and visual”. It was apparent to him that much care was taken to consider how the medium of cinema would be relied upon to communicate this story, which “doesn’t have a lot of dialogue.”

Haynes notes that the film was “unique” in every conceivable way, and something that “could be special for an audience that has never really been addressed in my work, young people.” He went on to explain that he made this film with the intention of creating something that “respected them and created a line between the imaginations of young people and the language of cinema at its most elemental.” The theme of deafness and all these cinematic elements, he says, “found relevance to each other in the way it was conceived and it ultimately made me think about how much movies actually meant to me as a young person.” Haynes recollects, “the films that changed the way I saw things there were films that were always maybe a little beyond my reach, and that’s what you want to show kids. You want to expose them to complex, sophisticated and cool stuff.”

The film is conceived as a homage to the City of New York in two very different historic eras: 1927 and 1977.
“Well there’s no question this film which makes its premiere at the New York Film Festival, is the most meaningful for all of us. [It’s] an extraordinary tribute to New York,” Haynes exclaimed enthusiastically. “[It’s] a tribute to the history and endurance of New York and to the changes to the city’s life and story over the years.”

Watching the film, one cannot help but be captivated  by the way two very different eras are woven so intricately together. “From a creative standpoint, it offered this beautiful reflection on time and also how time is reflected in the institutions of New York,” Haynes continued, “and how there is such a relevance between those two thematic issues, the narratives and the parallel journeys unfolding between the two children.”

He also said that the language of [Selznick’s] concept was really about point/ counterpoint. “At times [in the film], it’s all about the differences and the cuts in the film mark those differences. Then there are times where the differences disappear and there is a continuum or a parallel  between the stories of the two children or the events in the lives of the two children,” Haynes said. “It’s the notion of preserving time, preserving the history that we look to as a foundation and a continuum.”

When asked how the actors were able to get acclimated to the historical period which their characters lived, Julianne Moore noted, “one thing [Haynes] does so beautifully is that he assembles all these research materials for us.”  Moore, playing a silent film actress in “Wonderstruck,” went on to say that she watched quite a few movies from this time. “Obviously because I was playing a silent film actress, I looked at all of those. Then some really wonderful iconic films from the ’70s and a really great documentary on the black out of 1977.”  The documentary to which she is referring is “American Experience: The Blackout” aired by PBS in 2015. “The material gave us all a tremendous amount of context” — Moore paused — “I wanted to address something else, what Todd was saying about the physicality of place and monuments in New York City.” As she gestured to Haynes she said, “What I think Todd does better than any filmmaker alive is physicalize and manifest emotions cinematically. That’s what these monuments do too, that’s why we are so inspired by big cities and places we’ve created because they are monuments to humanity.”

Oakes Fegley who played Ben in the film said Haynes provided him with some films to watch as well as some documentaries about deaf culture.”Since my character lives in the 1970s, I went through some 70s films and that really helped me to create the character of Ben. Todd really helped me out with that, Brian [Selznick] as well, and we pretty much developed that character together.”

For Millicent Simmonds who plays Rose in the film, the experience was quote different.  “I had a different experience than Oakes because I am deaf and I have the experience of being deaf and I already know sign language. I know there are challenges and I understood Rose’s challenges, as a character who didn’t have sign language until she was much older. I can understand her journey,” she said. Displaying maturity and knowledge beyond her years she continued, “It’s not easy to communicate with people who don’t sign and it can be a bit frustrating and its hard to make people understand what I’m trying to say.”  She went on to say that she took those experiences of frustration and used them to “find Rose.”

For Jaden Michael, he is an old pro when it comes to capturing the spirit of the era for his characters. “I previously worked on a television show called ‘The Get Down’ which was based in the 70s so I understood what was going on in that time period.” Michael also mentions that he did some research on deaf culture. “Even though I didn’t play a deaf character or anything, I still wanted to know [what it was like].”  To get in character, music is key for Michael. “I like listening to music because it defines who I am, but in order for me to get into character it helps me to listen to music from that time period.  I sometimes think, ‘What would this character listen to?’ “So while I was getting hair and makeup done I would listen to a lot of ’70s rock like ‘Moonage Daydream’ by David Bowie or Fleetwood Mac or ‘Free’ by Deniece Williams — actually that song always put me in character,” he said.