“Somewhere near the end, he said with no irony, ‘I’ve been carrying you this whole picture.’ And I think we all agreed with that,” says Phoenix. For Phoenix, it was moving watching Norman go through something similar in the borderless creative space of “C'mon C'mon.” He believes he was then a fully instinctual actor, a mindset he tries to recapture. Phoenix also began as a child actor, an experience he thinks back fondly on. “I want to be seen as an actor who is a child.” “I don’t want to be seen as a child actor," Norman says. Like Jesse, Norman wants to be taken seriously for all he's capable of.
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In the film, Norman's character, Jesse, is full of curiosities and eccentricates that go beyond the usual views of childhood in film. To me, the film is very charming in that way because you can tell that everything is real.” “It being loose, I thought, let my creativity flow. “I’ve worked on films that have been very much, ‘It has to be in the script and you can’t change anything,’” says Norman, speaking by Zoom from his home in London. For Norman, 12, the freedom of Mills’ filmmaking was new and transformative. “C’mon C’mon” may be built on autobiography but Mills’ collaborative process turned it into something else, into its own thing. It’s ‘Game of Thrones’ and ‘Spider-Man' and the comedy all thrown together.” “I do feel like the people that show up in your life in a really big way are your cosmos,” says Mills. He thinks of his subject as “primary relationships.” But he’s also hesitant to be too straightforward about it. “Beginners,” with Christopher Plummer, was based on his father, and Annette Bening’s matriarch in “20th Century Woman” was inspired by his mother. “I think it’s beautiful when you are inspired by things in your life, but it’s also somewhat disgusting at times.”įor Mills, the writer-director of “Beginners” and “20th Century Woman,” family has been a regular reservoir. Was I? I’m sure subconsciously,” Phoenix says. I don’t want to get into that game of thinking about my life. “When I think about it in relationship to my kid and my experience, I go ‘Ugh.’ This is so its own thing. But Phoenix, who has always been disinclined to draw straight lines between art and life, cautions it was only an entry point. Do the math, man” - before relenting that he did know. Welcome to the experience!”Īsked if Phoenix began “C’mon C’mon” knowing that fatherhood was coming, he replies, “I don’t know. “It was like every phase of life was compounded into a few short months,” says Phoenix, smiling.
Last year, he and Rooney Mara had a boy, River, named after Phoenix’s late brother. In October, Phoenix and Mills gathered on a midtown balcony to discuss the film, shot in January 2020 just before the pandemic began and edited throughout it. Since its launch earlier this fall at the Telluride and New York Film festivals, “C’mon C’mon” has been received as an uncommonly sweet, open-hearted and genuine film, a shaggy portrait of profound adult-child connection. The black-and-white “C’mon C’mon,” which a24 opens in theaters Friday, may be the rare film to do a touch better than that. A film about human beings, if you’re lucky, you’re going to get, like, a sliver.” “All the possibilities and contradictions are enormous. “I always tell Hopper that a human being is huge,” says Mills, who’s married to the filmmaker Miranda July. The story, of an uncle (Phoenix) thrust into parenting his sister’s 9-year-old son (Woody Norman), was inspired by Mills’ relationship with his own child, Hopper. The performances are loose and often improvised. Moments of documentary make cameos in “C’mon C’mon,” but the entire film pulses with something tenderly close to real life. “It kind of changed the chemistry all the way through,” says Mills. “It was a constant reminder of what being genuine was in front of the camera, to really be authentic,” Phoenix says.
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