That was probably the crush phase. It had such an effect on me and I always had this fascination with it. I just found out that I always talked about moving there in high school. I have a terrible memory but I was hanging out with my high school girlfriend recently and talking about how different I am from how I was in high school and she told me, what are you talking about you told me you were going to move to New Orleans to make movies in tenth grade and wear a cape. So, in you ended up returning for good?
I was going city to city looking for a place to make this film. It kind of took root there and then turned into something so big that I could not uproot myself.
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What was the original story? It started off as something called Glory At Sea. It had this core—it was about a shipwreck and these people that were on these shards of wood and they were looking down at people at the bottom of the water. I went there not knowing if that was going to work at all but it really exploded.
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The film got totally out of control. It just felt like you have a seed and you plant it in the right spot and it just grows. What were the serendipitous elements that synched up? It was such a weird ghost town.
It was so weird and surreal that you just made a lot of really close connections. We made a choice that the story was starting to exist in the world and we were just going to follow that. So we did a rewrite where they were going to wash up on shore and there was this boat that was going to get built out of the junk that was around and sail back out there. Every time someone would give you something that they wanted to have on the boat you had to redesign the boat and rewrite the story to incorporate how they got this thing to the boat.
It became this thing where we were following the movie out to sea.
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It was an unbelievable adventure. Were you scared? But I think the culture is that way too. There are a lot of really brave people living in south Louisiana.
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You describe your relationship with this team of filmmakers as family-like. Do you guys all live together?
No, but a lot of us do. We met at age zero. I live with my sister.
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Our accountant lives in my house. All the artists on the film have a lot more agency than on a normal movie. Where did you learn to work that way? I went to work in Prague when I was in college [at Wesleyan].
vannixifu.tk I went to work for these animators. That was inspiring for me. But I think the reason I wanted to make films as opposed to anything else was this idea of being able to populate my own universe. To invent a world and choose where it is and go there. The film gives you an excuse to bring all your friends together. Sure, Wallis had to sneak into her audition and, at 5 years old, was the youngest of 4, girls up for the part of Hushpuppy, a strong-willed sparkplug quietly possessed of supernatural gifts who lives with her father in semi-squalor on the Louisiana Bayou.
Appearing in almost every scene in the film and delivering lyrical ruminations on the state of the universe, Wallis is a revelation: a tiny, vulnerable, yet ultimately indomitable sprite in rubber rain boots literally set adrift on a flooded tidal backwater in the aftermath of a Hurricane Katrina-esque natural disaster.
If the actress were indeed to go on to garner an Oscar nod, Wallis would topple Justin Henry , co-star of the divorce drama Kramer vs.
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Kramer, as the youngest person ever nominated for an Academy Award. Former freelance animator and film production teacher Zeitlin, meanwhile, had but one short film, a precursor to Beasts called Glory at Sea, to his filmography before setting out to shoot his feature debut. But the year-old managed to channel all his liabilities—a shoestring budget, make-do-with-what-ya-got production values, and a utopian collective of friends and conscripts for a crew—to create a cohesive aesthetic of decaying grandeur and experimental storytelling.
Zeitlin went with WME, which was handling the sale of the Beasts domestic rights out of the festival.