Because we’re still trying to figure it out.
Why does the ‘L’ stand for ‘long’?
Because when you’re doing a film the studio has a name and when you’re still young, you’ve got a little bit of freedom. You say, ‘Let’s give this movie a good name.’
It may not feel that way, but it’s the truth. I think the ‘L’ stands for “long” because there was a moment before I started filming that the idea of writing a script and putting it together didn’t seem so far fetched.
There’s a great movie that came out in 2008 called The Lobster, David Fincher’s big thriller (it’s not an interview). It was one of those big Hollywood pictures you went, ‘Yes, that’s the right thing for me to do.’ Then another day you wake up and go, ‘I knew that was my moment, let me be good in another way.’ There’s a lot of filmmaking. A lot of times I’m like, what the fuck is this? ‘Oh, that’s another thing for me to do.’ It’s a long process from one movie to the next, and I think the ‘L’ for long was a huge help in getting me to this place [with The Lobster]. It was one of those moments when I thought, ‘Oh my God, this is the way forward.’
Were your actors or your crew worried that they would be replaced with actors they’ve already put in movies?
Yes. It’s always interesting to go to the gym and get in shape, and I was getting into shape in a way that I had not in a long time. There’s something about getting out of bed and stretching. I remember being out in Los Angeles for a bit and a half and a friend of mine was like, ‘You’ve got to get back to the gym.’ And I’m like ‘You’re right, I’m pretty good at it.’ I had gone to a number of other studios, I’d had some great experiences there [but had also] seen people I liked being taken out. I thought, ‘No, this is my own damn fault. I didn’t think ahead. I didn’t think about what I wanted to do.’ It’s like being at the gym every day and then getting in one of those little break room fads that’s going to knock you out like you’re running on empty and go, ‘Oh my God, I
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