"Existence seems to consist of one challenging situation following another"
Robert Zemeckis and Tom Hanks are two cinematic powerhouses in the Hollywood scene. Following their successful collaborations on films like "Forrest Gump" (1994), "Cast Away" (2000), "The Polar Express" (2004), and "Finch" (2021), their latest project, "Here," is set for release. This drama, inspired by the graphic novel of the same name by Richard McGuire, utilizes a fixed camera perspective of a living room in a house, revealing the land that was there before the house was constructed. Through transition, the film brings to light all the lives of people and animals that have inhabited that spot for 65 million years.
Tom Hanks and Robin Wright portray the characters Richard and Margaret within this setting. Zemeckis masterfully traces the evolution of these two protagonists, their dreams and aspirations at the age of 17, which never materialize, until they reflect on their lives in old age. In an interview with ntv.de, Hanks discusses the film's theme of transience, generational conflicts, and what makes life meaningful for him.
ntv.de: Richard McGuire's "Here" is a groundbreaking work in the realm of graphic novels. How challenging was it to adapt it for the big screen?
Hanks: I've always regarded the graphic novel as an extraordinary foundation. It introduced the tableau storytelling technique that would leave any other filmmaker baffled, except for Robert Zemeckis. I had to read McGuire's book numerous times to grasp its essence - the way the panels fade in and out, and a single graphic represents an entire epoch, dominating the story's visual aspect. It's highly technical and requires an enormous effort, yet it's exhilarating.
How did you approach the film thematically?
We engaged in profound discussions with Bob (director Robert Zemeckis, ed.), Eric Roth (screenwriter, ed.), and the entire cast - about the transience of the present. The film is viewed from the present, but it explores the past. However, the characters in the past are unaware that they are in the past; they are simply grappling with their own individual presents. That's a philosophical theme we delved into.
The challenge lying ahead in the film was: How do Bob and I spontaneously embrace these momentous instances? At 17, at 35, and at 58? The only means to experience that was to forget everything remaining and immerse ourselves in that individual period, knowing that it would contribute to a historical narrative that would ultimately lead us back to the final moment when Richard and Margaret sit in an empty house, surrounded by heartrending and difficult memories. That's an astounding leap for a story. And it all originated from McGuire's outstanding graphic novel.
We observe a father-son dynamic between Paul Bettany's Al and your Richard in the film, which illustrates a significant generational gap and tensions related to money and finance. Can you relate to that?
That was intriguing because it mirrored my own father and I quite distinctly, due to the generation they came from. I mean, it stems from Al returning from the culminating phase of his life – World War II. My father grew up during the Depression in the 1930s. He understood nothing but the concept of hard work and the insignificance of complaining. My father did not exactly aspire to a dream of what he wished to accomplish later in life; rather, he was obligated to adapt to the reality of his circumstances.
I was born in 1956; my generation grew up in self-sufficiency, with an economy that provided us with ample income. We did not have to work relentlessly to ensure there was sufficient food on our table at the end of each summer. The distance between Richard and Al is so immense that it hinders their communication - until the roles shift, and Richard is forced to care for Al, who can no longer take care of himself. That's a beautiful moment when the tension eventually dissipates.
In a scene near the end, his father asks why Richard ever ceased painting, and Richard responds, "I lived by your standards, and you inquire why I relinquished it?" I find that captivating. Each generation is plagued by such enormous divides, yet this one was primarily based on: What must be done to ensure physical and financial survival, compared to: What must be done to spiritually and emotionally endure? I am unsure if the previous generation would have prioritized the latter.
What were the challenges in creating contrasts between the different eras while maintaining Richard's personality throughout the film?
On the one hand, we were blessed with advanced CGI technology that allowed us to witness ourselves in real-time during various ages – at 17, 22, et al. We could assess if our shoulders were slumped and how much vitality we had. When we were young, we had to suppress all our knowledge about the characters' subsequent ordeals. And that's never an easy task.
I struggled the most while portraying young Richard in his child-rearing years. The body undergoes significant changes physically, metabolism slows down, gravity takes hold, and you develop bad physical habits that will follow you for the rest of your life. It's a process that transpires unnoticed during that period. Then there's the added burden of raising children, always being exhausted, and permanently worrying about finances.
To fully immerse ourselves in our roles, we needed to become committed actors, fully engrossed in the crucial moments. This necessitated recalling necessary details and forgetting irrelevant ones.
The house plays a significant role in the movie, almost acting as a character itself. Is the house you grew up in still in your family's possession?
Regrettably, due to my nomadic lifestyle, there's no single house that remains in our family. Instead, it's a succession of homes. In Los Angeles, I once drove past the five or six houses I once called home. It was their neighborhoods that held more significance to me than the houses themselves. Last September, I was in Oakland, California, where I spent several years of my childhood. There was a specific house where I lived for about five years, and I took my son there, pointing out the street, the store, and the bus stop where I used to wait. It was a bittersweet experience.
The memories from that time are profound: our arrival, our departure, the people we encountered, and the challenges we faced. I struggle to comprehend how anyone can grow up in the same house.
The house where my wife grew up in the Hollywood Hills is currently inhabited by her brother. When we visit, we can sit in the exact room where she slept as a four-year-old. I have no emotional bond with the place. All we can do is acknowledge our shared past with a blend of affection and oblivion. I'm fortunate not to be burdened by the desire to relive the past.
The film's themes are intricate: Time goes by quickly, life is precious, seize the day, stay present... However, in the end, we're all somewhat insignificant. What does the film mean to you in terms of how we should live our lives?
During our initial conversation, Bob and I discussed the importance of recognizing what truly matters in the human condition and what does not. So many teachings, beliefs, and philosophies influenced our perspectives. The film unearths our powerlessness over the past, which is gone and beyond our control, and our limited understanding of the future. All we can do is make the most of today, saying and doing the right things, even if our motives are unclear. Only then can we potentially alter our course when we move into the next now.
The enigma of life lies in the bizarre juxtaposition of our transient present, its rapid pace, and the necessity of living in the moment. Life is simply a series of events that we must accept.
Interview conducted by Linn Penkert with Tom Hanks.
"Here" is currently screening in German cinemas.
The graphic novel "Here" by Richard McGuire, which inspired the film, is noted for its innovative tableau storytelling technique. Tom Hanks found the adaptation process challenging due to the book's unique panel transitions and single graphics representing entire epochs.
The film "Here" using the fixed camera perspective of a house showcases various lives and eras that have inhabited the same spot for 65 million years, highlighting the transience of the present and the unawareness of past lives.
