Daniel Minahan and Luc Montpellier at TIFF 2024 for On Swift Horses
The Big Picture Adapted from Shannon Pufahl's 2019 novel of the same name, On Swift Horses explores finding queer love and freedom in the 1950s, a time when being queer held far greater risks than now. Newlyweds Muriel and Lee move to San Diego, where Muriel is waiting tables at a casino. She also meets Lee's gambling brother, Julius , who just returned from the war, and they discover they have more in common than they thought.
100%. One of the many reasons why I enjoyed this movie and one of the reasons why I'm happy it was made is that all too often, especially younger people, you read about it in a book, but you don't really understand what it was like in different time periods unless you see it. Movies like this open that door to so many people, especially fans of the cast. Can you talk about that aspect?
LUC MONTPELLIER: One of the key things Dan told me early, which I think framed everything for me, is this idea of not romanticizing the '50s to the point where it's inaccessible. Hence, the documentary reference. I always kept that in my mind that you want people to feel like they were there. That's what I felt.
It's so interesting because the average person is not gonna realize the blue. They're not gonna catch certain things. It's gonna be the people that study the movie that will put it together. But it's so interesting because, subliminally, I think they do pick up on these things. The Magic Hour Presented Some Not-So Magic Challenges Talk about what shot or sequence ended up being the real pain in the ass for the two of you. MONTPELLIER: Maybe it was Magic Hour in general. The time you probably wanted to strangle me the most, you've told me.
MINAHAN: We set some rules for ourselves which just seemed organic. When we're in, let's say Kansas, it had a very formal film language. When we were in the housing development, it had a kind of rigid quality to it because we wanted it to feel confining. When we were in the private spaces with the queer characters, we were always handheld — it was the one place, in these small places, where they could be free.
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