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I wanted to know more about the chairs.
(Italian for superlight you might buy thisversionfor $710.)
The action takes place in different locations over time rolled backwards, but the chairs are always there.
I called up Lloyd and Gilmore to ask about their casting.
The usual approach toBetrayalis that each scene is presented naturalistically, Lloyd says.
But after directing a number of Pinter plays, hed become convinced of the advantage of less-is-more staging.
Youre actually looking for an emotional through line.
The Ponti chairs were the first that Gilmore presented him, and he knew they were right immediately.
We needed a language of something much more universal and emotional and metaphorical.
It doesnt feel feel heavy in any way.
I wanted something that would feel inside and outside and could be in Italy.
Its a finish that we all have a relationship with.
And of course,Betrayal, most of the time you are moving backward.
A real sense of moving through time and space was a kind of interesting notion.
But its so delicate.
And that revolve in the scene is doing what a cinematic score might do when youre watching a movie.
The movement of the set gives you a sense of something rumbling beneath them.
