Julio Torres mined his own life and experiences to make his feature directorial debut 鈥� ,鈥� in which he plays an aspiring toy designer from El Salvador caught in the nightmarish Catch-22 of the U.S. immigration system.
His character Alejandro desperately needs someone to sponsor his work visa, and he thinks he may have found that person in Tilda Swinton鈥檚 Elizabeth, a caustic, put-upon art critic. Together they embark on a wild, surreal New York odyssey of setbacks, bureaucratic nonsense, and art world characters all trapped in their own mazes.
Torres, too, is from El Salvador but instead of toys, he came up as an artist in the comedy world, writing for "Saturday Night Live" (he鈥檚 responsible for modern classics like 鈥� 鈥� and 鈥� 鈥�) before going on to create the HBO series 鈥淟os Espookys.鈥�
Swinton was already fan of Torres by the time she was sent the vibrant script and was one of the ones encouraging Torres to direct it himself. But she was worried she couldn't play Elizabeth. In a joint interview, they spoke to The Associated Press about 鈥淧roblemista鈥� (currently in theaters in limited release and expanding nationwide this weekend), the turning point for Swinton and putting their own stamp on New York movies.
Remarks have been edited for clarity and brevity.
AP: Julio, where did this idea start for you?
TORRES: I equate it to building a sandcastle where you don鈥檛 really start out with a blueprint. You鈥檙e just sort of moving sand around and then you go, 鈥極h, that looks good.鈥� And then you get to a point where you鈥檙e excited about it and you call other friends, and then they start putting things together. It wasn鈥檛 me opening my computer and saying, 鈥業 want to write a movie.鈥�
AP: How did the character of Elizabeth come to be who she is on screen?
SWINTON: I loved the idea of a Elizabeth, but I saw her as somebody else. I didn鈥檛 see her on the page as somebody that I would play. To start, and this sounds very kind of broken of me, but I was hung up on the idea that she had to be an American. And I felt ill equipped, as I have been in the past, when playing Americans. I remember when I played an American in 鈥楳ichael Clayton,鈥� a lawyer. I remember saying to Tony Gilroy, 鈥業 don鈥檛 know any American lawyers. I don鈥檛 know what they鈥檙e like.鈥� Even though I have very many divine American friends, I feel very alien to American culture. When we cleared up the possibility that she could be not American, that was for me the turning point. I thought that maybe she鈥檇 be English, and also I identified this idea of her coming from the West Country and having this particular voice. Then they also have this parity as immigrants.
AP: Julio, people often describe your comedy as surreal. Was there a moment when you decided that was your style?
TORRES: These things just sort of come out. I don鈥檛 think that you look through a menu of styles and decide, 鈥楾hat鈥檚 the kind of thing I want to do.鈥� This is how I know how to operate, and it鈥檚 where I鈥檓 comfortable and able to articulate ideas. What鈥檚 funny is sometimes I鈥檒l watch a movie that鈥檚 so gorgeously simple, it鈥檚 like two characters in a house and I think, 鈥極h my god, that is the kind of thing I will do.鈥� And then it always ends up being a circus.
SWINTON: But that鈥檚 also true of Fellini, for example. You鈥檙e in very good company. He didn鈥檛 make films about two people in a house.
AP: What was important to you in creating your own New York mythology with this?
TORRES: I just really wanted to stay true to my lived experience in New York, not New York as backdrop, not New York as might as well be any other place, but the specifics of living here because it just really, really, really contextualizes the way that people behave in the every-man-for-himself attitude that a lot of the characters have.
New York has this thing where everything is slightly more pathetic than it attempts to be. Everything is going for something, but then you end up like seven steps below, if you鈥檙e lucky, because everything is so difficult to maintain here. One of my favorite locations was the cryogenesis place because you could tell what the corporate entities wanted it to look like 鈥� this high tech, picturesque thing but it just looks like a dirty spa.
AP: Do you have any hopes for what people will see and get out of 鈥淧roblemista鈥�?
SWINTON: One doesn鈥檛 want to be prescriptive. What you really want is just for people to see it. That feels a lot to ask, but we are just so relieved they鈥檙e going to get a chance now.
But just acknowledging how difficult life can be for people... the stacking of the bricks against people caught in the whole paraphernalia of trying to immigrate into the United States is really important for people to look at and think about, maybe particularly this year when they might have an opportunity to vote.
And to do it and give people the opportunity to really laugh at the same time is very generous of Julio. There鈥檚 a sort of amniotic fluid of kindness around it. There鈥檚 nothing hectoring about this film. There鈥檚 nothing piercingly angry about it. It鈥檚 about predicaments.
TORRES: I love that. Predicaments.
Lindsey Bahr, The Associated Press
