In the realm of cinema, some sequences command immediate attention due to their inherent chaos and unpredictability. The A24 film *We Live in Time*, featuring Andrew Garfield and Florence Pugh, presents a striking depiction of this frenetic energy through a particularly challenging birth scene. In a recent interview, Garfield offered insight into the creative process behind this moment, which captures the rawness and beauty of life amidst the absurdity that often accompanies it.
Garfield described this chaotic birth sequence as a pivotal “action event” within the film, comparing it to the iconic Indiana Jones adventures. This assertion is notable considering the backdrop of a gas station bathroom, which serves as the narrow and unlikely setting for such a life-altering event. By choosing a constrained and unglamorous environment, the filmmakers effectively juxtapose the intimate and significant nature of childbirth against a seemingly mundane and chaotic backdrop, thus heightening the emotional stakes of the scene.
The birth sequence unfolds in a uniquely comic fashion, as both the actors and the audience are confronted with unexpected occurrences—most notably, a weeks-old baby relieving itself during filming. While this unexpected moment could easily overshadow the scene, Garfield embraced it with open arms, characterizing it as a beautiful manifestation of the messy realities of life. This approach represents a significant departure from more traditional portrayals of childbirth in cinema, which often tend to filter out such “real” moments in exchange for sanitized narratives.
Garfield’s candid appreciation of these chaotic instances serves as a reminder that life is often chaotic and unpredictable—a thematic thread woven throughout the narrative of *We Live in Time*. This sense of authenticity is crucial as it invites viewers to experience the genuine emotional turbulence faced by the characters, particularly Garfield’s character, Tobias.
The collaborative nature of filmmaking becomes particularly apparent in this scene. Garfield discussed how he and Pugh processed the sheer vulnerability of the moment together, emphasizing that their connection was crucial to portraying the intimacy required in such a chaotic birth scenario. The actor’s clever observation that he found himself “mostly acting with Florence’s bum” underscores the sacrifices made for authenticity within the filmmaking process.
Garfield’s dedication to the moment, paired with director John Crowley’s vision, showcases how the art of filmmaking can embrace discomfort and chaos, ultimately leading to a more resonant portrayal of human experiences. The two-day shoot on a meticulously recreated gas station bathroom set on a soundstage offered a unique challenge to both actors, pushing them to engage not only with the material but also with each other in surprising ways.
In sum, *We Live in Time* uses humor and chaos to explore profound themes of love, life, and the unpredictability that comes with it. Through Andrew Garfield’s reflections on the chaotic birth scene, viewers gain insight into the intricate balance of vulnerability and connection that defines both the narrative and the filmmaking process itself. In navigating the tumultuous waters of life, perhaps the greatest takeaway is embracing the messiness—in both film and reality—reminding us that it is often the unexpected moments that shape our stories most profoundly.