<strong>LUKAS</strong> <strong>MOODYSSON</strong> A CONVERSATION WITH <strong>LUKAS</strong> <strong>MOODYSSON</strong> More than a decade has passed since Lukas Moodysson's debut film Fucking Åmål (aka Show Me Love) premiered, a decade since the critics showered praise on this new director and Ingmar Bergman himself felt so bold as to declare the film "a young master's first masterpiece." Ten years and five (now six) films on, Lukas Moodysson has deservedly won a reputation as one of the world's most interesting and unpredictable filmmakers. The latter, since following the success of Fucking Åmål (aka Show Me Love), Together and Lilya 4-ever, Moodysson embarked on a completely different course with the small-scale experimental films A Hole in My Heart and Container. Now he is turning yet another new leaf. His new international feature, Mammoth, stars Michelle Williams, Gael García Bernal and other leading actors. Mammoth is just as much an intimate story of how the affluent young New York couple Ellen and Leo, their daughter Jackie and Filipino nanny Gloria try to achieve a work-life balance, as it is a broad demarcation of our world and where it is heading. Swedish writer and journalist Jennie Dielemans met Lukas Moodysson to talk about his film, despite the fact that he would much rather not say a word and let the film speak for itself. He usually backs away from situations where he as a director is called on to explain the films he makes and why he makes them. It is too much of a monologue, in his opinion, first to make a film and then tell the audience what they should think of it. "That's one of the reasons I think film festivals are so fantastic, because you can watch films that nobody has formed an opinion of. In my view it makes for a fuller experience." But having said that, I still have to ask you: what got you into this from the beginning, what were its origins "Initially I was interested in maids: I gave a lot of thought to people who work in other people's homes. But maybe since my view of the world centres largely on trying to link things together – I'm very interested in wires and cables, the way we human beings are influenced and interconnected in such an amazingly complex way – this was what probably attracted me most, the threads that link up the world." "The part of the work that involves the most discussion and reasoning, where you're forced to define the essence of the film, is probably in the cutting room. That was where I thought a lot about needs. The way we human beings need each other. How those needs can easily spill over and become destructive, yet still be based in a genuine need for something. I think I even drew up a flow chart showing how those needs ran in and out of each other. How, from the point of view of society, we need doctors to take care of us, but for Ellen to be a doctor she needs someone to back her up. Her husband has needs, as does her nanny, and her nanny's children… Ellen is needed and she has needs of her own. In a way I think I saw her as a sort of centre." In the cutting room I saw a note that you'd stuck on the wall with a quotation that was about children, too. "Ah, that one. For a while I considered including it in the film, but it seemed too obvious and religious. We were in Bangkok to look for places where we could do casting and so on, and I went into a Catholic church that was right next to the hotel. Inside there was a little bookshop where I found a book with words and pictures from a children's home in Pattaya, a place where the children were most probably the children of prostitutes. One of the quotations in the book went something like… 'Every child that's born is a reminder that God hasn't given up hope for mankind.' I feel that very strongly. That children are, after all, a hope, and I don't mean that in a banal way, but it's actually the only thing we have to live for. The idea that somebody will soon be taking over. The world can't be rotten to the core if children are being born." Your characters in Mammoth… I see them not only as people, but as symbols… "That may well be the case." What was your reason for placing the couple in New York, why not Stockholm or Malmö or Copenhagen "It's all to do with the fact that they represent something. I don't necessarily mean the USA, more like the whole western world. We also talked about London for a while, but I thought it was important to be in America. Maybe it was an idée fixe of mine, since I'd read that Filipino nannies usually ended up either in the Middle East or the US." "Anyway, when we were screen-testing in the Philippines it became very evident just how many people could relate to Gloria's story, or that's what they told me, at least. Basically, everybody had someone, a sister, a mother, a brother or a son who worked abroad. When you travel in and out of the Philippines you see queues of all the people who are leaving, queues where the real Glorias stand with their travel documents in an A4 envelope and are subjected to rigorous checks." As a viewer it is not hard to read into Mammoth a critique of the economic conditions that force parts of the population of the third world to leave their families in order to provide for them. Conditions that enable an affluent young couple in New York to question their lifestyle choices, whereas others have no choices to question. In his film Lilya 4-ever, Lukas Moodysson managed to get human trafficking and its consequences onto the European agenda. This time round, on the question of whether he is out to change something, or has a desire to do good, he replies that he is more interested in a kind of message in a bottle approach. "Sometimes you have a vague hope that the message in a bottle will wash up on a beach and lead to something.