The director of one of the years most outraging films talks about his extraordinary topics, the film-making process, and the age-old question: quality or nourish?
” Ideas are my bread and butter ,” says film-maker Tim Wardle.” But it’s hard to find minds that induce you want to get out of berthed at 3am and travel movie somewhere .”
That, nonetheless, was not the case when a producer at Raw, the London-based production company where Wardle wields, brought to his attention the story of Bobby Shafran, Eddy Galland and David Kellman, a make of same triplets who knew nothing of each other until they were reunited by happenstance at age 19. That alone would make for a compelling film, but their floor doesn’t result there.
Bobby, Eddy and David are the subjects of Wardle’s brand-new cinema Three Identical Strangers, an extraordinary documentary that starts as a feelgood human interest story and, by the end, has you questioning the nature of existence. As far as documentary themes disappear, this one is nonpareil, a fact that was heavy on Wardle’s recollection as he set out to tell the brothers’ floor on cinema.” There’s huge pressure not to fuck up the floor ,” he acknowledges.” I wasn’t worried about coin or anything like that. I was just like,’ I can’t blow this .'”
Three Identical Strangers start in 1980, as a 19 -year-old Bobby Shafran attends his first day of university exclusively to find unfamiliar classmates accosting him as Eddy. While it’s only the first in a series of fortuitous discoveries, most of which are better seen than read about here, Wardle is smart to tell the first half of the documentary through narration and recreated scenes, a tactic that allows the viewer to get a sense of how uncanny it must be to move into your dormitory room and find you’re already an on-campus celebrity. Eventually, Bobby and Eddy meet and are contacted by David, whose adoptive mother noticed a duo of twinneds in the paper who searched exactly like her son, down to their shared pudgy hands.