Before Celine Song gained recognition as an Oscar-nominated filmmaker, she was navigating life as a playwright in New York City, balancing her artistic pursuits with various day jobs to afford the city’s high cost of living. One of these positions led her into the role of a professional matchmaker, a job that, while initially a means to an end, provided profound insights into human desires and the complexities of the heart.
“This experience was so rich with potential that I felt it had the scope for a substantial, epic story,” Song reflected. “It ultimately touches every single person on this planet.”
Drawing inspiration from her matchmaking days, Song went on to create the film “Materialists,” a contemporary love story set in New York City. Welcome to screens on June 13, it features Dakota Johnson, Pedro Pascal, and Chris Evans. Johnson portrays a matchmaker faced with choosing between two markedly different suitors, sparking much debate online. But, akin to her film “Past Lives,” the essence of “Materialists” delves deeper than a mere love triangle.
In conversation, Song and Johnson shared insights about their collaborative process, love, and the nuances of modern dating. Their dialogue has been adjusted for clarity and conciseness.
Question: How did your collaboration begin?
SONG: Our meeting was initially to connect on a personal level and potentially become friends. I left that conversation feeling a strong certainty — I messaged my producers, believing I had found my ‘Lucy.’ For me, casting is akin to falling in love; there’s an unexplainable feeling when you meet the right person for the role.
JOHNSON: I was aware of the film brewing in Celine’s mind, but the timing seemed off. Nonetheless, intrigued by her intelligence and artistry, I wanted to meet her. With no expectations of being cast, I saw it as an opportunity to form a connection for potential future projects. Our conversation was unexpectedly romantic, and it wasn’t long before the possibility of being part of the film emerged.
Question: Who is Lucy at this point in her life?
JOHNSON: Lucy is at the pinnacle of her career, yet she’s somewhat detached from her own emotions, obsessed with professional perfectionism, and arranging marriages. Although she may appear transactional and indifferent, she deeply cares and desires the best for others. Concurrently, she is on a personal quest to discern her own life’s needs — pondering whether to pursue what she thinks she desires or what she fundamentally requires.
SONG: Perfectly described.
Question: How do the two men entering Lucy’s life shape the story?
SONG: The focus is not about choosing between two types of men, but rather about the dating marketplace we all engage with. Lucy, as a skilled matchmaker, understands this dynamic more than anyone, adept in navigating through the numbers and values involved. Pedro and Chris embody characters at opposite ends of this value spectrum, each offering unique charms and provocations.
Lucy’s awareness allows her to navigate the intricate ‘stock market’ of romance — exploring how these calculated systems can collapse leaving room for organic connection.
JOHNSON: Celine articulates this dating marketplace concept so well. It challenges the notion of love as quantifiable while highlighting how traditionally marriage was transactional. Nowadays, the expectation for partners to fulfill every need is daunting, further complicated by a digitally dominated society where authentic interactions are dwindling. The film explores these complex dynamics and the genuine, spiritual values people can offer each other.
As Lucy delves deeper into others’ wants, she is compelled to confront her own truths, examining what is truly vital — material wealth or genuine love and connection.
SONG: The paradox of what we articulate in a partner versus the inexplicable nature of falling in love is fascinating. This disconnect forms the mystery powering our story.