But the other thing was, I had a scholarship at the New York Public Library, and one of the other scholars there was researching countercultural newspapers from the 1960s. And the library had them all. So it would be like a free weekly from 1967 in Brazil, and this same week in Chicago, and they all have this amazing utopian optimism, and also associated with almost some kind of fantastic art aesthetic.
I started to think of Walt Disney’s death as a key point in 1966, and Epcot Center when it would be his true utopian city where people would live. And after his death, it was turned into just another amusement park, which we know now.
I love the way you took the time to give us Phoebe the Gorgon talking to her fiance in the hotel room. Can you tell me what you are trying to say about standardization?
There’s a section in the middle of the movie where we see them in spaces you don’t normally see them. A X Men the movie wouldn’t have that domestic scene in the middle. I guess that was a goal. I wanted to put in a very real scene where a couple is bickering and she has this job that is important to her and, and he wants more of her time. And I thought putting that in the movie is like a lot of things in the movie, where it’s a very real thing, next to a very imaginary or unreal thing. And the closeness of those two things is uncomfortable or weird or just a frequency that I thought was exciting to see on screen.
Do you think there is a possibility that these creatures existed in some form or needed to be created?
Well, the position taken by my film is that they are imaginary. To me, they’re like the imaginations of culture, the stories of culture, almost like radical works of art, these radical imaginations or radical ideas. Cryptozoo is an attempt to bring in those imaginations. A lot of times in order to make something popular, you basically damage them. So this is the position of the film and the situation of the film.