Visualizing the Invisible
Director Kirsten Sheridan grew up in the theater, surrounded by actors and fantasy. When she was 12, she was an extra on the set of My Left Foot, directed by her father, Jim Sheridan.
It was an intense experience. Daniel Day Lewis was always in character, so he was in a wheelchair, and we had to feed him lunch. Then, at the end of the day, Id be shocked when I saw him walking around. The line between reality and fantasy was very blurred in our house, she says. In a funny way, my dad lives in stories. Thats the way he communicates. I guess I followed him.
August Rush, her first Hollywood film, is about a boy genius who hears the world as though its music and tries to use music to find the parents from whom hes been separated.
I decided to do August Rush because the first image I read was the babys hand coming up, conducting music in the air, and the first scene of the first film I did was two babies who look at each other and join hands. It was this crazy moment, and the two images were totally matched. And because it was a challenge to turn the camera into musicwhich is the spiritand to have to visualize the invisible.
NYPress: You did a marvelous job of that when August (Freddie Highmore) conducts the wheat field, but howd you achieve that with the other actors? SHERIDAN: I explained to Jonny [Rhys Meyers] and Keri [Russell] especially that something made [their characters] turn away from life and music, to lose their ability to feel, and it slowly starts coming back. I told them to imagine hearing music that opens them up.
[Also], Id roll camera when they didnt know I was doing ittheres the scene where Jonny finds Keri on the computer and decides to go to her. The camera was slowly pushing in on him, and just for the crackfor the laughwe turned on the radio. Suddenly its the Stones, and you hear Brown Sugar! out of nowhere. Jonny, he freaked out. It worked really well. He got a mad whoosh of energy from the music. All the time, we tried to make the acting stem from the music: Theyre opening to the music. Thats the invisibility in the film and the spiritual element of it.
There seems to be a kind of balance between genius and madness in your work as well as in your dads. Is that characteristic of the Sheridan domain? Yeah. I come from a mad family. [She laughs]. Thats so funny. You should come around for Sunday dinner! My dads talked about this in interviews concerning In America. When he was a kid and his brother died, they put on a show. My father played the son, so suddenly, from a very realI mean you cant get more real than the death of a child, right?place, they turned that into drama to be able to deal with it. And thats the only place they could deal with itto be father and son on stage. That runs very deep with him, less so with me because I didnt have that kind of tragedy. But thats kind of mad I think.
How has your father influenced you? The way he works with actors. Actors always stayed with us; it was the 80s, and we were in theaterland. So, I got to know them personally, which many directors dont do. Theyre scared of them, actually, because actors can smell bullshit a mile away. They know if youre pretending to be the director but dont have a clue. Then they dont trust you, and you dont get good performances.
But back to Dads influence: I learned his intensity. He works in chaos, courting the organic rather than a controlled pre-thought out situation. He likes that madness, but if it feels fake, he actually feels physically ill.
Have you known anyone who hears the world as though its music? I havent, no. I wish. But maybe Im lucky because I might have had a preconceived notion There was a kid in Julliard when we were shootinghe was 12who said music comes to him as a complete score playing in his head, and he writes it. But August heard everything like musiche took it in as opposed to conceiving it.
Youve mentioned that your dad lives in stories. Does he talk in parables? Not parables: Its more communication through stories. We improvised In America, and Id be Samantha Mortons charactermy real life motherbut hed tell me I was Granny now, because youre my mother. Then hed jump in and play my father. It was a Freudian nightmare [she laughs]like very strange therapy. So, he lives in stories.
When youre writing or directing, do you act the parts? Id love to be an actress, but Im not good enough. When Im on the other side of the camera, Im not on sure footing. Maybe eventually Ill be brave enough to flourish in that unsure thing. As a director, Im learning to have more confidence and be less controlling. Now, Im more open to let it grownot force it into a corner. The magic happens when you let go and see what happens.
You mean like accidents in painting? Yeah, exactly. I suppose accidents in painting are unconscious strokes of the hand, and isnt that the strongest thingthe unconscious? But its a scary void.
But the invisible is really where its at. In August Rush, the most important thing is the space between the frames: You see Jonny here and Keri there, and when she looks out a window, the next cut to him shows he feels thatthats the invisibility between cuts. Thats where the mystery and magic is. Thats the message of the film.