Today I had the pleasure of sitting down with critically acclaimed film director, Mr. Connor Bargar. Bargar himself exploded onto the film scene in 2018, a bit after he finished college, as one of the premiere film critics working in the business. Often called the "Young Ebert", Bargar displayed great consistency and insight to the films he critiqued. Then, in 2027, the young director went down the road of Francois Truffaut, and turned to directing. While Bargar's films always received critical acclaim, he failed to find a significant audience due to his constant genre-switching. However, after the three films released in '27, '28, and '30 he gained the reputation to draw audiences simply to see a "Connor Bargar Film". I had the opportunity to ask Mr. Bargar three questions regarding his newest film, a quickly escalating, 1950s period drama starring Daniel Day-Lewis, Christian Bale, and, oddly enough, Leonardo DiCaprio. So, to satisfy all your desires, here's the few questions I asked the famed director:
You certainly have a unique film style and aesthetic. You have certainly earned the nickname "The New Kubrick. How did you develop such an original look to your films?
Bargar: Well, I'd say the first thing one needs to look at when regarding to a style, whether literary, musical, or cinematographic is the particular authors, artists, or directors that influenced and fueled them and their passion. I, personally, wanted to capture Sergio Leone's vast epics and the feel of awe at the reach of his films. While keeping that scale, I also wanted the cerebral and somewhat distant feel of Stanley Kubrick's films, so I suppose the nickname fits. Finally, say what you may about his writing and story direction, but I wanted to capture Tarsem Singh's surreal visual style. Overall, I guess you could say that I wanted vast spanning films with slightly surreal visuals and a restricted sense of immersion. I want my viewers to really examine why I make the choices I make in my films.
You recently stated that you will attempt a Horror film next, any expectations of the style to that one?
Bargar: I'm aiming for a The Shining-esque film. The Kubrick film really exemplifies all that I love about the director. It horrifies me, but not in the traditional shock elements of most of the industry. When watched in the right mood, the film creates a sense of impending doom that stresses and frightens the viewer, not unlike the characters in the hotel of the film. Kubrick accomplishes this via his perspective. He heavily foreshadows the attempted axe-murder at the end of the film, so much that even the most blunt viewer realizes the final events of the film, but then he takes his good time building up to it. It creates this "I know something horrible is going to happen, but I don't know when, and it's killing me" feeling amongst the viewer. I want to make something like that.
Finally, Why DiCaprio? He's been out of the business for years, why bring him back now?
Bargar: I see it as a sort of promise to a teacher of mine, back when I was young and impressionable, and that's you're getting out of me.
Well folks, there you have it, and interview with famed director Connor Bargar. Next week we have an interview with internationally recognized "World's Most Hated Person" Chris Gajewski. Until next time!
