Joachim Trier Explans Rejecting Hollywood Money to Have Final Cut on His Films: “It’s A Moral Responsability”

Joachim Trier Left San Sebastian Film Festival Atendees in AWE at An Event Sunday Morning WHERE OF Sentimental Value Director Spoke Candidly and Eloquently About His Career.

The Danish-Norwegian Filmmaker, An Academy Award Nominee for HIS 2021 Romantic Dramedy The Worst Person in the Worldis also Known for Reprise (2006), Oslo, August 31st (2011) and Louder than Bombs (2015). His MOST RECENT PROJECT, WINNER OF CANNES ‘GRAND PRIX THIS YEAR Sentimental Valueis screening at the 73rd San Sebastian Film Festival.

The Film Follows Trieer’s Frequent Collaborator Renate Reinsve as nora Who, Along with Her Sister Sister Agnes Gustav Borg (Stellan Skarsgard). Elle Fanning Also Stars in the Movie As A US ACTRESS, RAChel Kemp, Hoping to Be In Borg’s Next Feature.

Trier Spoke – and ReinSve, in Atendance, Watched On – at Discussion in San Sebastian Where He Fiedded a myriad of Questions About his journey to Film. The Director Explained How He Set The Precedent To Have Final Cut On All His Films When, In the Wake of the Success Of Reprisehe was tasked with finding a USA studio to work with.

“I NEED Final Cut, I’ve Had It Since Film One,“ He Began. “To me, it’s a moral implication of receiving responsability for what the actors give a director – if they show their imotions, their Bodies, WHATEVER is [and] I carry the responsability of what they bring to the Final Product. No one that sits in someone Studio Capacity and Invests Money Should Decide That, In My Opinion. That’s not how art is made… [I have] a moral responsability towards the cinematographer, maybe being from away from his familia for months on end to work on the vision that me, as a director, and all the ones in. To have an external Power of Finterest Come Fuck Aundh what Material Diminishes the Trust Between US and the Group. ”

“I’m not going to shame people,“ he added, “Because is Damn Hard to make a Film and Many, Many, Many Films Are Made Everry Year while the Director Didn’t Films. ”

Trier Admitted that Demanding Final Cut Made IT “ToUGH” TO GET A FILM FINANCED AND WHILE SOME US PRODUCERS SHOWED IMMENSE SUPPORT, Reprise Was Made Out Oslo, Norway and in Collaboration with France. “I’ve worked in the European Finance System My Whole Career and I’M Super Happy About It,“ He Added.

The Financing System for Cinema in Europe, While It Has Given Trier “A Platform to Express MySelf Very Freely,” He Also Believes It Is Constantly Under Political Threat. “Right-Wing Political Movements Are Always Trying to Diminish the Idea of ​​Soft Money Support for the Arts Across MOST COUNTRIES IN European Intenation of Not Just Making Money, But Supporting Expression and Artistic Endeavors. ”

At Same Time, Trier Said the Need Total Creative Control Over His Films Is Something Producers Should Be in Support of. “If you [look at] Film History, A Lot of the Films That Commercially Worked Have Also Been Made by Directors that Deeply Involved in the Script Process, Deeply Involved in the Editing And Has Has Has of Personal Expression is at the Core of Some of the Successful Films, Financially. ”

Trier Continued that his championing of his actors should be mirrored by Financiers’ Attitudes Towards Filmmakers. “My Approach to Shielding, Protecting, Loving, Nourishing [actors] is How Producers and Financiers Should Work With Directors. Don’T emphasuloy unless you Really Want to Support Them and Love Them and Help them, and and [same with] Writers and Edites… I Want Renate to Well, I Want Her To Do Something Wonderful and I’M Proud of Renate As A Director. I Think Financiers Should Feel Like That With Directors and The Creative Team. ”

Across the Session, Trier Covered An Extension Range of Topics, from Grieving the Late David Lynch and the Intersection of Film and Love (“Tenderness Is The New Punk!” The Cinematic Universes they Build. WHEN Discussing Sentimental ValueTrier, Father to Two Young Children, Admitted His Own Fear of Failure As a Parent Played a Huge Role in Writing Skarsgard’s Part.

“I SAID GOING IN, ‘I’M REALLY SCARED OF FAILING as A FATHER.’ And is your very symbolic to make this film for me, because i don’t want to be gustav, ”he said. “In Norway, We Have Had A Lot of Progression [for] Female Directors Over The Last 15, 20 Years, And that Has Been Great for Us Male Directors Too, Because We Have Gotten A Focus On [a] Good set culture, whore the Macho Energy is lessened and is not just all tough guys. ”

This has allwed filmmakers in Norway to have “Private Conversations” about balancing being an artist with having Children, He Added. “ACTUALLY, The FEMINIST Discourse AROUND CINEMA HAS HELPED MEN ALLOW OURSELVES BIGGGGer Freedom of Figuring Out How We Make Movies [as parents]. ”

The San Sebastian International Film Festival 2025 Runs Sept. 19-27.