Marco Castaneda is a graduate student at the California State University, Los Angeles. He is currently pursuing his Master of Fine Arts Degree in Television, Film, and Theatre, and expects to graduate in the Spring of 2023. He has a strong passion for creating stories as well as reading them. Marco believes that art helps people to give a unique perspective of our lives and the lives of others. He is also currently a substitute teacher for K-12th grade and hopes to teach students how to use their creativity through all aspects and subjects of their lives and not to be afraid of using their talents.
Sep 5, 2022
Table of Contents
Photo: ‘Three Thousand Years of Longing’
The Director’s Past Works
Throughout his career, filmmaker George Miller will always be recognized as the man who directed the ‘Mad Max Trilogy.’ However, he has experimented with other genres by making films that are outside his comfort zone from the action genre that he is known for. In his past filmography, George Miller has contributed to a segment in ‘Twilight Zone: The Movie.’ He dabbled with the fantasy genre by making ‘The Witches of Eastwick,’ which tells the tale of three single women who have their wishes permitted with a price when an enigmatic man meets them. After the film, he made the biographic film ‘Lorenzo’s Oil,’ a true story about Lorenzo Odone, a -five-year-old Virginian boy who is diagnosed with an incurable and degenerative brain disease called adrenoleukodystrophy (ALD).
The parents (played by Nick Nolte and Susan Sarandon) take it upon themselves to search for a cure for their son’s illness which leads to the development of Lorenzo’s oil. In 1998, he directed ‘Babe: Pig in the City,’ a sequel to the 1995 film ‘Babe’- which he wrote with the director, Chris Noonan. In 2006, he made his first animated film ‘Happy Feet’ and the 2011 sequel, ‘Happy Feet Two.’ In 2015, he released the reboot ‘Mad Max: Fury Road,’ and gathered a lot of praise for the dazzling action sequences and the proper use of practical effects, and the proper use of CGI. Finally, he is back in the director’s chair by making ‘Three Thousand Years of Longing,’ a dark fantasy film which is based on A.S Byatt’s short story, ‘The Djinn in the Nightingale’s Eye’. George Miller co-wrote the film with his daughter, Augusta Gore.
The Rise of Idris Elba
A Tribute to the Path-Breaking Leading Man
George Miller’s Take of the Genie Genre
The movie stars Tilda Swinton as Alithea Binnie, a lonely British narratologist who serves as the protagonist and occasionally narrates the story. She dreadfully experiences strange visions of demonic entities during her visit to an airport or when it happens in one of her lectures. When she goes on a trip to Istanbul, Turkey, she buys an antique bottle and summons a Djinn (who is played by Idris Elba), which is another word for a genie. The Djinn expect Alithea to ask for three wishes, and they have to be sincere in order for them to come true. To his surprise, he learns that the main character does not have any desire to grant any wishes. On top of that, she is skeptical of his presence.
The story mostly takes place in a hotel. Unlike any of the ‘Mad Max’ movies, George Miller relies on dialogue and the Djinn’s narration to keep the viewer interested while presenting the flashbacks of his stories. The film does not give into the traditional sense of storytelling and decides to be as original as it can be. He does not give in to action or violent scenes to entertain audiences. It is a character study that is heavily invested in two lonely beings who take their time to get to know one another since the genie himself has been through a lot while the main character is simply a mortal human. What the audiences know in this complex story is that the Djinn must get his three wishes asked by Alithea so he can be free. However, she refuses since she believes that the concept of thinking of wishes and having them being granted by a genie has always been a cautionary tale that will not have any good results. She would rather get to know the Djinn instead of coming up with personal wishes.
Full Commentary – Cast & Crew Spills Secrets on Making of ‘Three Thousand Years of Longing’
Idris Elba Spills Secrets on Making of ‘Three Thousand Years of Longing’ | In-Depth Scoop
The director George Miller is a very technical director despite the fact that he is directing a fantasy film instead of an action film. The film uses a lot of CGI to show Djinn’s past life. As Elba’s character shares his stories, we are presented with scenes of his affection for the Queen of Sheba (played by Aamito Lagum) and his unhappiness of witnessing her succumb to the sensual charms of King Solomon (played by Nicholas Mouwad). Then the genie informs the protagonist about the Ottoman court of Suleiman the Magnificent (played by Lachy Hulme). He also goes on about the ruthless sovereignty of Murad IV (Oğulcan Arman Uslu) and talks about Ibrahim the Mad (played by Jack Braddy). Then he lastly discusses his encounter and his affection for a young married woman named Zefir, which takes place in the harem of an old Turkish business during the 19th century. George Miller does a good job of condensing three thousand years from the Djinn’s back story as his audience is well-invested into it just like Alithea.
Tilda Swinton Spills Secrets on Making of ‘Three Thousand Years of Longing’ | In-Depth Scoop
Come Behind The Scenes of ‘Three Thousand Years of Longing’ | George Miller and Idris Elba
A Character Study of Two Lonesome Souls
As the audiences know, the Djinn is a very lonesome being who longs for his freedom. We can see that he has been through too much, and he wanted someone to understand him and perhaps help him to be set free from captivity. As we see Tilda Swinton’ character paying close attention to the genie, she is succumbing to the character’s background in his life. She has now developed the sense of want. As time goes by, she realizes that the genie has been through too much because just like human beings, the Djinn have experienced love and betrayal. Despite the film being a dark fantasy film that is intended for adults, we become intrigued by the story just like Alithea, since she herself has lost the sense of skepticism. Therefore she listens to the Djinn’s tales as if she was a child. Alithea may be very knowledgeable about folklore and mythology since she is an expert on the concepts of storytelling. She changes her mind through the art of opening her mind and surrendering herself to the Djinn’s stories.
George Miller Spills Secrets on Making of ‘Three Thousand Years of Longing’ | In-Depth Scoop
Doug Mitchell Spills Secrets on Making of ‘Three Thousand Years of Longing’ | In-Depth Scoop
In Conclusion
The film is a different take on the genie genre. The film does not cater to a crowd that favors blockbuster action films. It refuses to have a formulaic approach of telling a genie-in-a-bottle story by having the main character. It is a story that talks about other stories. The movie concentrates on being philosophical in terms of human desires and if the wishes are really worth wishing for. We learn that the Djinn’s stories are about regret, pain, and loss. These themes are very relatable to human beings. These are two lonely beings who have realized that they need something from one another. Within the Djinn’s stories, Alithea was able to realize her ability to desire.
Starring Idris Elba and Tilda Swinton
Directed by George Miller
Screenplay by George Miller and Augusta Gore
Based on “The Djinn in the Nightingale’s Eye,” by A.S Byatt
Produced by George Miller and Dough Mitchel | Cinematography by John Seale | Edited by Margaret Sixel | Music by Tom Holkenborg
By Marco Castaneda
Click here to read The Hollywood Insider’s CEO Pritan Ambroase’s love letter to Cinema, TV and Media. An excerpt from the love letter: The Hollywood Insider’s CEO/editor-in-chief Pritan Ambroase affirms, “We have the space and time for all your stories, no matter who/what/where you are. Media/Cinema/TV have a responsibility to better the world and The Hollywood Insider will continue to do so. Talent, diversity and authenticity matter in Cinema/TV, media and storytelling. In fact, I reckon that we should announce “talent-diversity-authenticity-storytelling-Cinema-Oscars-Academy-Awards” as synonyms of each other. We show respect to talent and stories regardless of their skin color, race, gender, sexuality, religion, nationality, etc., thus allowing authenticity into this system just by something as simple as accepting and showing respect to the human species’ factual diversity. We become greater just by respecting and appreciating talent in all its shapes, sizes, and forms. Award winners, which includes nominees, must be chosen on the greatness of their talent ALONE.
I am sure I am speaking for a multitude of Cinema lovers all over the world when I speak of the following sentiments that this medium of art has blessed me with. Cinema taught me about our world, at times in English and at times through the beautiful one-inch bar of subtitles. I learned from the stories in the global movies that we are all alike across all borders. Remember that one of the best symbols of many great civilizations and their prosperity has been the art they have left behind. This art can be in the form of paintings, sculptures, architecture, writings, inventions, etc. For our modern society, Cinema happens to be one of them. Cinema is more than just a form of entertainment, it is an integral part of society. I love the world uniting, be it for Cinema, TV, media, art, fashion, sport, etc. Please keep this going full speed.”
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Marco Castaneda is a graduate student at the California State University, Los Angeles. He is currently pursuing his Master of Fine Arts Degree in Television, Film, and Theatre, and expects to graduate in the Spring of 2023. He has a strong passion for creating stories as well as reading them. Marco believes that art helps people to give a unique perspective of our lives and the lives of others. He is also currently a substitute teacher for K-12th grade and hopes to teach students how to use their creativity through all aspects and subjects of their lives and not to be afraid of using their talents.
Marco Castaneda is a graduate student at the California State University, Los Angeles. He is currently pursuing his Master of Fine Arts Degree in Television, Film, and Theatre, and expects to graduate in the Spring of 2023. He has a strong passion for creating stories as well as reading them. Marco believes that art helps people to give a unique perspective of our lives and the lives of others. He is also currently a substitute teacher for K-12th grade and hopes to teach students how to use their creativity through all aspects and subjects of their lives and not to be afraid of using their talents.
