Based on an anonymously written poem from the 1400s now known as “Sir Gawain and the Green Knight,”’s film weaves together myths of lords and ladies who love little mind games, beheaded young women who may or may not turn into foxes and, of course, none other than the legendary King Arthur of Camelot. “The Green Knight” is embellished with what feels like an endless number of different accents and chapter titles that appear on the screen in typefaces that force you to slow down or squint.
In the original poem, the Green Knight is written as a bright green person, but you made him a darker, tree-like figure. That sets up an interesting tension between man and nature in the film. Can you talk about that choice? In reading the poem, I just took any little inference to an event on his journey and extrapolated from that. So the sequence with Saint Winifred was derived entirely from one line in a poem where it says that Gawain passed by Holyhead. I googled Holyhead and [found] the myth of Saint Winifred and realized that that was worthy of a chapter in and of itself. It was a worthy step in Gawain’s journey towards integrity.
I can’t imagine it the other way now. I’m so glad he spoke up. He was right and I was wrong. I am always happy to admit that I’m wrong. Another contrast in the film was when the funnier or sexier scenes came up. What was going through your mind while directing those moments? Since you edited “The Green Knight” as well as writing and directing, can you explain some of your stylistic choices as an editor? There are some slow, long takes that reminded me of the neo-neorealism in some of your other work, like “A Ghost Story,” but you juxtapose that with some really abrupt cuts, as well as the hard fantasy of it all.
Source: Entertainment Trends (entertainmenttrends.net)
Skyebright8 Can he explain why the movie was garbage
Too bad they didn’t invest in the story
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