RUST AND BONE
From The Filmmakers
In Craig Davidson's gripping short story collection Rust and Bone, individual
lives and destinies are blown out of proportion, intensified by drama and
accident. The stories depict a harsh modern world where fighting is the way the
physical self finds its place and escapes its fate.
Ali and Stephanie, our two characters, do not appear in the short stories; we
took ideas from Craig Davidson's stories as a point of departure and wove them
into a new story. Davidson's collection already seems to belong to the
prehistory of the project, but the power and brutality of our tale, our desire
to use drama, indeed melodrama, to magnify our characters all have their
immediate source in those stories.
From the very beginning of our adaptation, we were focused on a kind of
cinematography that, for want of a better word, we called 'expressionist.' We
wanted the power of stark, brutal, clashing images in order to further the
melodrama. We had in mind an echo of the Great Depression. We thought of old
amateur county-fair films, of the dark reality in those surreal visuals.
It is that kind of aesthetic that constantly guided us as we worked on the
screenplay. It's pitiless, yet it sustains a love story that is the true hero of
the film. It shows the world though the eyes of a confused child. It underscores
the nobleness of our characters in a world made violent by economic disaster.
And it respects Ali and Stephanie's stubborn attempts to transcend their
Jacques Audiard and Thomas Bidegain
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