David Marchese

Oh, the David Bowie album.

The famous one with the lightning bolt painted across his face.

The famous one with the lightning bolt painted across his face.

Yeah.

Yeah.

Little drop on the collarbone, right?

Little drop on the collarbone, right?

Did you imagine what it sounded like?

Did you imagine what it sounded like?

But initially, you wanted to be a writer. And this is something that I was particularly interested in. From a young age, you were writing poetry and people were reading what you were doing. And then you got to Cambridge intending to be a writer. And then for some reason, around about the age of 21, you stopped writing. Yeah. And what happened?

But initially, you wanted to be a writer. And this is something that I was particularly interested in. From a young age, you were writing poetry and people were reading what you were doing. And then you got to Cambridge intending to be a writer. And then for some reason, around about the age of 21, you stopped writing. Yeah. And what happened?

What was your poetry about?

What was your poetry about?

Wait, but why did it happen?

Wait, but why did it happen?

You know, I think when The Room Next Door was shown at the New York Film Festival, I think it was just last month maybe, there was a post-screening talk, and it was interrupted by pro-Palestinian protesters. And you, I thought, very gracefully in the moment, you know, said the protests were—

You know, I think when The Room Next Door was shown at the New York Film Festival, I think it was just last month maybe, there was a post-screening talk, and it was interrupted by pro-Palestinian protesters. And you, I thought, very gracefully in the moment, you know, said the protests were—

I'm paraphrasing, uncomfortable, but necessary and also relevant to the film because Syria, Beirut, Gaza represent also the room next door. And the film is asking people to be in the room next door and to not look away from what's happening. And is it your hope that people would sort of make a political connection or have political connections spurred in that way by seeing the film?

I'm paraphrasing, uncomfortable, but necessary and also relevant to the film because Syria, Beirut, Gaza represent also the room next door. And the film is asking people to be in the room next door and to not look away from what's happening. And is it your hope that people would sort of make a political connection or have political connections spurred in that way by seeing the film?

It's entirely possible that they were wearing masks for apprehensiveness about legal reprisals.