{"id":684071,"date":"2025-11-13T12:53:31","date_gmt":"2025-11-13T09:53:31","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=684071"},"modified":"2025-11-13T12:53:31","modified_gmt":"2025-11-13T09:53:31","slug":"ronan-day-lewis-on-anemone-its-obviously-nepotism","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=684071","title":{"rendered":"Ronan Day-Lewis on Anemone: \u2018It\u2019s obviously nepotism\u2019"},"content":{"rendered":"<article class=\"main-article standard \">\n<div class=\"article-main-content article-wrapper has-media-but-its-an-image\" data-status=\"loaded\" data-primary-article=\"true\" data-url=\"\/film-tv\/article\/69048\/1\/ronan-day-lewis-on-anemone-its-obviously-nepotism-film-daniel\" data-article-id=\"69048\">\n<header class=\"article-header has-landscape-image no-media\">\n<div class=\"wrapper dg-max-width\">\n<div class=\"inner\">\n<figure class=\"main-img no-figcaption\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.68\" data-template=\"Standard Article\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Daniel Day-Lewis\" class=\"img\" height=\"1708\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2025\/11\/1430487-3.jpg\" width=\"2861\" title=\"1430487-3\"><\/span><\/span><\/figure>\n<aside class=\"meta\">\n<div class=\"inner\"><span class=\"month\">November<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"10\">10,<\/span>\u00a0<br \/>\n<span class=\"year\">2025<\/span><\/div>\n<\/aside>\n<div class=\"titles\">\n<div class=\"tags\">\n<div class=\"sections\"><a class=\"category vertical - film-tv\" href=\"https:\/\/www.dazeddigital.com\/film-tv\">Film &amp; TV<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/feature\">Feature<\/a><\/div>\n<\/div>\n<h1 class=\"title\"><span>Ronan Day-Lewis on Anemone: \u2018It\u2019s <span class=\"nowrap\">obviously nepotism\u2019<\/span><\/span><\/h1>\n<div class=\"standfirst\">\n<h2>The 27-year-old filmmaker discusses his powerful debut feature, which stars a post-retirement <span class=\"nowrap\">Daniel Day-Lewis<\/span><\/h2>\n<\/div>\n<p><span class=\"month\">November<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"10\">10,<\/span>\u00a0<br \/>\n<span class=\"year\">2025<\/span><\/div>\n<\/div>\n<div class=\"tags\">\n<div class=\"sections\"><a class=\"category vertical - film-tv\" href=\"https:\/\/www.dazeddigital.com\/film-tv\">Film &amp; TV<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/feature\">Feature<\/a><\/div>\n<\/div>\n<div class=\"providers\">\n<div class=\"contributors\"><span class=\"contributor\" data-contributor-role=\"Text\"><span class=\"contributor-role\">Text<\/span><a class=\"contributor-name\" href=\"https:\/\/www.dazeddigital.com\/user\/NickChen\">Nick Chen<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/header>\n<div class=\"article-body-container\">\n<aside class=\"primary\">\n<div class=\"sticky bottom\">\n<div class=\"read-more\"><span class=\"read-more-header\">Read More<\/span><\/p>\n<div class=\"read-more-items\">\n<div class=\"read-more-item vertical-music\">\n<div class=\"read-more-item-link\"><a href=\"https:\/\/www.dazeddigital.com\/music\/article\/69044\/1\/lux-rosalia-new-album-2025-noah-dillon-carminho-daniel-bjaranason-yahritza\" class=\"article-list-item-image\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Screenshot 2025-11-07 at 10.16.55\" class=\"img\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2025\/11\/1430439-5.jpg\" title=\"1430439-5\"><\/span><\/span><\/a><\/p>\n<div class=\"read-more-item-content\"><a class=\"category\" href=\"https:\/\/www.dazeddigital.com\/music\">Music<\/a><a href=\"https:\/\/www.dazeddigital.com\/music\/article\/69044\/1\/lux-rosalia-new-album-2025-noah-dillon-carminho-daniel-bjaranason-yahritza\"><span class=\"title\">Lux: 4 collaborators unpack Rosal\u00eda\u2019s monumental new album<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"read-more-item vertical-life-culture\">\n<div class=\"read-more-item-link\"><a href=\"https:\/\/www.dazeddigital.com\/life-culture\/article\/65480\/1\/future-beyond-work-ai-robot-take-our-jobs-whats-next-for-humanity-ubi-laziness\" class=\"article-list-item-image\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Office Space (1999) film still\" class=\"img\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2025\/11\/1394973.jpg\" title=\"1394973\"><\/span><\/span><\/a><\/p>\n<div class=\"read-more-item-content\"><a class=\"category\" href=\"https:\/\/www.dazeddigital.com\/life-culture\">Life &amp; Culture<\/a><a href=\"https:\/\/www.dazeddigital.com\/life-culture\/article\/65480\/1\/future-beyond-work-ai-robot-take-our-jobs-whats-next-for-humanity-ubi-laziness\"><span class=\"title\">After work: If AI takes all our jobs, what\u2019s next for humanity?<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"read-more-item vertical-life-culture\">\n<div class=\"read-more-item-link\"><a href=\"https:\/\/www.dazeddigital.com\/life-culture\/article\/69043\/1\/what-is-the-forehead-kiss-of-doom-and-despair\" class=\"article-list-item-image\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Forehead kiss\" class=\"img\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2025\/11\/1430422-1.jpg\" title=\"1430422-1\"><\/span><\/span><\/a><\/p>\n<div class=\"read-more-item-content\"><a class=\"category\" href=\"https:\/\/www.dazeddigital.com\/life-culture\">Life &amp; Culture<\/a><a href=\"https:\/\/www.dazeddigital.com\/life-culture\/article\/69043\/1\/what-is-the-forehead-kiss-of-doom-and-despair\"><span class=\"title\">What is the \u2018forehead kiss of doom and despair\u2019?<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/aside>\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>Half an hour into<span>\u00a0<\/span><em>Anemone<\/em>, Daniel Day-Lewis, arguably the world\u2019s greatest living actor, delivers a 10-minute monologue about consuming Guinness, curry, and laxatives in order to vengefully shit into a priest\u2019s mouth. It\u2019s hard to imagine anyone else executing such an odd, challenging speech, or indeed anyone else convincing him to do it: it was directed by the actor\u2019s son, Ronan Day-Lewis. A first-time filmmaker who co-wrote<span>\u00a0<\/span><em>Anemone<\/em><span>\u00a0<\/span>with his father, the 27-year-old New Yorker can\u2019t be accused of following a screenwriting template, even if his path into the industry is arguably the most typical.<\/p>\n<p>Turning up early to our interview during the London Film Festival, Ronan Day-Lewis is open and frank about his fortune as a filmmaker. \u201cIt\u2019s obviously nepotism,\u201d says the amiable, Irish-born director. \u201cAnyone is incredibly lucky to be able to make a film, and I\u2019m hyper-aware of how lucky I am to do this with him.\u201d<\/p>\n<p>After<span>\u00a0<\/span><em>Phantom Thread<\/em><span>\u00a0<\/span>wrapped in 2017, Day-Lewis\u2019s father announced his retirement from acting. Did Ronan see it as a public service to get Daniel out of retirement? \u201cIt was a unique position to work with him on something very casually in a low-stakes way, in a domestic environment, over a long period of time,\u201d says the younger Day-Lewis. \u201cIf not for that, maybe he wouldn\u2019t have found his way back to work that way.\u201d<\/p>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"sDICkov1xZY\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/sDICkov1xZY\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>Framing landscapes as if they were watercolours,<span>\u00a0<\/span><em>Anemone<span>\u00a0<\/span><\/em>finds beauty and loneliness in its rural, English setting. In an isolated cabin, Ray (Day-Lewis) is startled by the arrival of his brother, Jem (Sean Bean), a reunion that prompts the aforementioned \u201cI squatted down and I manured him\u201d monologue and an impromptu dance party. It\u2019s the 1990s, before everyone was easily traceable, and two decades earlier, Ray abandoned his family: he was a soldier involved in the Troubles. When the two moody men aren\u2019t fighting and drinking, the film cuts to Jem\u2019s wife, Nessa (Samantha Morton), and her son, Brian (Samuel Bottomley). What unites the strands are fantastical incidents, like an apocalyptic ice storm.<\/p>\n<p>Ronan Day-Lewis isn\u2019t just the son of a three-time Oscar-winning actor. His mother is Rebecca Miller, the director of<span>\u00a0<\/span><em>Maggie\u2019s Plan<\/em><span>\u00a0<\/span>and Apple\u2019s recent<span>\u00a0<\/span><em>Mr Scorsese<span>\u00a0<\/span><\/em>documentary (Ronan is credited as a camera operator), and his grandfather was the playwright Arthur Miller. At the age of seven, he visited the set of<span>\u00a0<\/span><em>There Will Be Blood<\/em>, an experience he refers to as life-changing: it was the first time he\u2019d seen his father act, and it was with Paul Thomas Anderson, a director he\u2019d later idolise.<\/p>\n<p>One reason cited by Day-Lewis\u2019s father for retiring is the hassle of promoting a movie. How is Day-Lewis \u2013 a non-performer who doesn\u2019t appear in his own film \u2013 finding being thrust into the spotlight? \u201cI think I\u2019m a pretty shy person,\u201d he says. \u201cMy background is more in painting, which is super-solitary, and just you in a room with a thing on the wall. It\u2019s been an adjustment. It\u2019s been intense. But it\u2019s cool meeting people, and it forces you to think more deeply about what you just did, which is maybe not a bad thing.\u201d<\/p>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<blockquote>\n<p>I\u2019m a pretty shy person. My background is more in painting, which is super-solitary, and just you in a room with a thing on the wall. It\u2019s been an adjustment. It\u2019s been intense<\/p>\n<\/blockquote>\n<\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>Graduating with a BA in Art from Yale in 2020, Day-Lewis is a painter whose work was presented in 2022 at Sotheby\u2019s New York as part of a Jerry Gogosian-curated sale. Two of those paintings,<span>\u00a0<\/span><em>Don\u2019t Look Now<\/em><span>\u00a0<\/span>and<span>\u00a0<\/span><em>It\u2019s Okay to Eat Fish Cause They Don\u2019t Have Any Feelings<\/em>, feature a sci-fi animal that cameos in<span>\u00a0<\/span><em>Anemone<\/em>. (It\u2019s translucent, like a giraffe-necked dog that\u2019s turned into a giant tooth, and has a dangling penis.) To accompany the film, Day-Lewis has a solo exhibition in LA called \u2013 it\u2019s just as difficult to pronounce \u2013<span>\u00a0<\/span><em>Anemoia<\/em>.<\/p>\n<p>\u201cIt\u2019s such a big leap to make your first feature, and there\u2019s so much that\u2019s intimidating, like leading a crew, and deluding yourself into thinking you can do that,\u201d says Day-Lewis. \u201cIt helped me to think of filmmaking as an extension of what I was already doing in painting. I\u2019m trying to think of them as two expressions of the same impulse.\u201d<\/p>\n<p>The obvious example is the mysterious creature from his paintings. Day-Lewis struggles to explain its existence in both his film and prior artwork, including as a massive sculpture: the point is that it can\u2019t be summed up in words. \u201cMy dad had been wondering if the creature should appear somewhere, because he was very familiar with it from my paintings. The metaphysical aspects of the film opened a portal for things like that to happen. These moments feel like X-rays into Ray\u2019s psychological space.\u201d<\/p>\n<\/div>\n<figure class=\"inline-img expandable dev-view-hide\" data-img=\"f49b22c3-686c-40ba-a47f-b39100bf0f95\" data-src=\"https:\/\/images-prod.dazeddigital.com\/1486\/azure\/dazed-prod\/1430\/0\/1430507.jpg\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.79\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"Anemone (Film Still)\" class=\"img\" height=\"829\" src=\"https:\/\/analyse.optim.biz\/wp-content\/uploads\/2025\/11\/1430507.jpg\" width=\"1486\" title=\"1430507\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"credit\">Anemone (Film Still)<\/span><\/figcaption><\/figure>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p>When Day-Lewis paints, he listens to non-stop music, especially artists like Slowdive. During the writing of<span>\u00a0<\/span><em>Anemone<\/em>, it was him, not his father, who compiled the playlists. The script had specific songs written into it, like Kurt Cobain\u2019s cover of \u201cAnd I Love Her\u201d (\u201cit was impossible to get\u201d) and Cluster &amp; Eno\u2019s \u201cSteinsame\u201d. The final film\u2019s score by Bobby Krlic is hugely indebted to shoegaze: on multiple occasions, swirling guitars build and build until there\u2019s a hard cut to a silent room.<\/p>\n<p>As a teenager, Day-Lewis watched YouTube videos about the mechanics of screenwriting. He\u2019s now written a number of scripts, including a few on his own. With his father, they only wrote<span>\u00a0<\/span><em>Anemone<\/em><span>\u00a0<\/span>when they were in the same room together, usually at the kitchen table. It was done without an outline. \u201cWe were disregarding so many of the screenwriting rules you learn. It gave it a bit of a punk spirit.\u201d<\/p>\n<p>He points to the Guinness-shitting monologue as a key example. His father improvised it as a lengthy block of text while he transcribed it. \u201cIt\u2019s unusual to have, like, no dialogue for the first act, and then to have that much dialogue to shepherd you into the rest of the film,\u201d he says. \u201cIt felt like a point of no return. It gave us freedom.\u201d<\/p>\n<p>Day-Lewis is clearly political \u2013 his Instagram bio is two words: \u201cFree Palestine\u201d \u2013 but he doesn\u2019t want his films to be didactic. To sum himself up, he says, \u201cI want to keep letting myself be drawn to images, themes, feelings, and worlds I want to step into.\u201d The director has a solo script that he feels \u201cstrongly\u201d about, and hopes will be his next film. However, he notes, \u201cMy dad and I, if we can find something else we can get equally obsessed with again, I think we\u2019d love to do it together. We\u2019ve started bouncing some ideas around.\u201d<\/p>\n<p>Anemone<em>\u00a0is out in UK cinemas on November 7<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<footer class=\"article-footer\">\n<div class=\"wrapper\">\n<div class=\"article-series\">\n<h4 class=\"heading\">More on these topics<\/h4>\n<\/div>\n<div class=\"article-series\"><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/film-tv\">Film &amp; TV<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/feature\">Feature<\/a><a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/tag\/daniel-day-lewis\">Daniel Day-Lewis<\/a><\/div>\n<\/div>\n<\/footer>\n<div class=\"grid\">\n<div class=\"lava-lamp\">\n<div class=\"lava-lamp-text-container\">\n<h3 class=\"lava-lamp-subheading\">Expand your creative community and connect with 15,000 creatives from around the world.<\/h3>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"grid section-header\">\n<div class=\"section-header__link\"><a 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