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The novel provided the subplot, but how much of Susan was informed by people in your own life, or people you observed? As Edward says, you know, nobody really writes about anyone but themselves. That level of materialism, the disregard for people in your life and spirituality, is something I’ve certainly battled. There are connections with people, the sky, the earth. However, I wanted it to hold together as a complete film. The inner story, which is meant to be visceral, is gritty and a little bit oversaturated. The color tone in the flashbacks are warm, because when we remember things we tend to romanticize them, even if it’s a fight or if it’s a love scene, so there in Susan’s head, they are warm. I also wanted particular colors to be emphasized throughout all these stories, particularly the color red.10 years ago, I hit the point where Susan reached, and I moved past that. Well, I had a drinking problem and a drug problem, which I should probably quit mentioning because the press seems to make a bigger thing than it needs to be. Susan has lost her way in that, so she is quite autobiographical. And while there are three stories, it’s really one story. That was the period of her life that was warm, in contrast to the period of her life which is now so cold and gray. Red is passion, red is blood, red is anger, red is vivid.So while it’s early in my film career, it’s not early in my career and I felt very confident I could say to people, “This is what it’s going to be, this is about how much it’s going to cost, this is when I’m going to deliver it to you.” And I did that. Let’s shoot it.” An open mind keeps it fresh and helps it stay alive. If the audience judges that, then that’s perhaps the responsibility of our culture which has told the audience, all of us, that this is what we should think about these women.
I still obviously had total final cut; they didn’t even see it until I handed over the deliverables. He started to tell some story, and he went off on something. These are women who have let go of everything that our culture says that they should be, and they were so joyful. They were so comfortable with themselves, with their bodies, absolutely uninhibited. I think a lot of people might think, OK, well, it’s really strange. He uses all these thin models on a runway and this is how he opens a film.
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EXCLUSIVE: Tom Ford is waiting for me in the otherwise empty Cafe Carlyle at the Carlyle Hotel in Manhattan.
It’s going to be great.” Afterwards, they said, “How did it feel? Amy Adams’ Susan draws our sympathy at the beginning. She withers, very subtly, and she says he has a different kind of strength. ” “Strength to believe in him and to believe in me.” The way Amy delivers that, it’s almost like she can barely believe in herself and she knows her mom’s about to shoot her down.
She is in this superficial marriage to this guy who’s obviously cheating on her, and she is alone. But she says, “He has the strength to believe in me,” and she doesn’t believe in herself.
But Ford doesn’t come off staged, at all, once he warms to talking about Still, his sartorial splendor is intimidating enough to have left this journalist, for the first time since maybe high school prom, spending more than a few minutes figuring out what to wear (even though Ford agreed in advance not to judge too harshly).