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“Susan is phenomenal creative producer and the love of my life,” explained O’Shea. “She guided the project from script to proof of concept to financing. With the exception of getting into Cannes, which neither of us still quite understands, getting this film to this point has been all her.”
Like the Safdies’ “Heaven Knows What,” O’Shea shot a large portion of “The Transfiguration” with an out-of-view long lens camera and had his characters interacting with real life in New York City exteriors. “I suppose if I had to describe the movie, I’d say it’s [George A. Romero’s 1977 vampire film] ‘Martin’ meets ‘Henry: Portrait of a Serial Killer,” O’Shea laughs.
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And then a funny thing happened: they never got rejected from Cannes. Calling a friend of a friend of a friend, the couple was able to determine it wasn’t an oversight. The film was under serious consideration. It wasn’t until the live morning announcement of the Cannes line-up that they got their confirmation: “The Transfiguration” made it to Cannes.
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