James Gray Talks Dream Quality Of Cinema & Approach With Cast: “I’m Not A Good Director Of Actors” – Locarno

During the recent Locarno Film Festival, acclaimed filmmaker James Gray received an honorary award ahead of the Swiss premiere of his latest film, Paper Tiger. The event, held at Locarno’s iconic Piazza Grande, also featured a press session where Gray elaborated on his distinctive cinematic philosophy and working methods.

Gray articulated a profound appreciation for cinema as an art form uniquely capable of capturing the essence of dreams. He noted that while dreams occupy only a brief portion of nightly sleep, cinema condenses and visualizes this dreamlike experience in a way that other arts have historically struggled to achieve. Gray traced the rapid artistic advancements in early sound films, highlighting examples such as Fritz Lang’s Berlin-set thriller M, to illustrate cinema’s swift evolution compared to traditional forms like painting or music.

He contrasted cinema’s relatively brief history with millennia of development in other arts, suggesting that early cinematic pioneers were effectively surpassing previous artistic expressions to invent entirely new ways of representing human consciousness. In this view, films serve as vivid, accessible windows into personal and collective dreams, delivering intimate glimpses of the filmmaker’s vision.

Paper Tiger, Gray’s latest work, returns to familiar New York City settings and stars Adam Driver and Miles Teller as brothers whose pursuit of the American Dream entangles them in conflict with the Russian mafia. The film also features Scarlett Johansson in a supporting role. Gray’s narrative explores themes of ambition and familial bonds against a backdrop of crime and cultural tension.

When discussing his directorial style, Gray described a collaborative process that prioritizes actor comfort and authenticity. Rather than imposing rigid interpretations, he encourages performers to shape their characters in ways that feel natural to them. This approach diverges from more traditional, prescriptive directing techniques seen in classic Hollywood.

Gray emphasized the importance of actors listening to each other during scenes, valuing the organic interactions that emerge from rehearsals and initial takes. He revealed a preference for shooting rehearsals to capture spontaneous moments, often selecting early takes for their rawness. Despite his deep involvement in the filmmaking process, Gray modestly acknowledged a lack of innate acting expertise, attributing the success of performances to the actors’ own talents and the creative freedom afforded to them.

The Locarno Film Festival not only showcased Paper Tiger to a large audience but also hosted a masterclass led by Gray, providing attendees with further insight into his creative outlook. Additionally, the festival screened two of Gray’s earlier films, We Own the Night (2007) and Two Lovers (2008), offering context to his evolving body of work.

Gray’s reflections at Locarno underscore his belief in cinema as a singular artistic medium capable of conveying complex subjective experiences. His emphasis on respect for actors’ input and the preservation of spontaneity on set reveals a directorial philosophy that balances personal vision with collaborative artistry.

As the Locarno Film Festival progresses, Gray’s participation contributes to ongoing conversations about the nature of cinematic storytelling and the relationship between filmmaker and performer. While details about Paper Tiger’s wider release remain limited, the film’s reception at the festival signals continued interest in Gray’s distinct narrative voice and his exploration of intimate, dreamlike storytelling.