Download the full chapter interview with Renate Reinsve

Our full in-depth interview with Reinsve on the making of The Worst Person in the World will appear in our forthcoming ebook Existential detours: Joachim Trier's cinema of indecisions and revisions. For a sneak peek of the full chapter now, enter your email below.

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    What Reinsve thought of the script when she read it

    "I felt very moved. And I felt very close to the character. But at the same time, I didn't really understand who she was. And I also understood that I was never going to understand her fully, just like I couldn't understand myself or other people fully. That was how I knew it was a very, very good role. And I thought, I'll just go with that, [I’ll just accept that] I am never going to decide who she is. Joachim was very open to that idea."

    How Reinsve's ideas about Julie differed from Trier's

    "I felt like Eskil and Joachim had romanticised the way that Aksel defined Julie. I [interpreted it like] Julie really needed someone to define her, but that it wasn’t right, so she needed to leave Aksel in the end. She couldn’t live with the way that he was defining her anymore. Even though she's searching so hard for identity, she's just desperate for someone to see her in a way that she likes because she doesn't really like herself that much. So, that was one [area where we had different ideas]."

    On working with DP Kasper Tuxen

    "Kasper was very, very important. I felt like we were acting the scenes out together, which is something I never felt with a cinematographer before. I would feel [his] emotion. It might not be the same emotion that I had, but I knew that the scene was so important for him and that he was open to be moved by the material and by us on set. He didn't impose it on us; I just felt it. The focus puller [Ola Austad] was also so involved and invested in every moment. You feel all of that, as an actress, and it makes all the difference."