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THE GIVER (2014)

• The Giver's library, of course. Not simply for the fact that it's a library, with all the meaning that implies, but also the bits hidden within it, the drawers, cupboards, and display of curios. Also the staircase.

THE ONES BELOW (2015)

• Specific chromatic palette, very similar to Tom's apartment in 500 Days of Summer but California has a yellower undertone and this film takes place in overcast and rainy London. Justin and Kate's flat is the epitome of a homely Instagram-beautiful interior with lots of empty bits of glass containers and ceramics and a very nice textural variation. Teresa and Jon's flat is much more geometric but still in the realm of modern simplicity and objet d'art knickknacks, though more in the northern European style, which makes sense regarding Teresa's Scandinavian background and the couple's origins in Germany.

POSSESSION (1981)

• Heinrich's flat. Lots and lots of books. A minor grove of dark green plants occupying a part of the space. Is this a picture of a contemporary dandy?

SLEEPING BEAUTY (2011)

• Lucy's loft is more of a transitory space, because she hasn't learned/has no desire to decorate it. She's enjoying the luxury of possessing it. Her naked body and the wide view, though high and out of reach from those below.
• Her room in her friends house. Fabrics and the thin window coverings, the thinnest fabrics in pastels that match her porcelain skin and pinkish complect. She has to wear a sleeping mask to blot it out, as she does in the loft.

Солярис (Solaris, 1972)

• The house by the pond. Butterflies in cases. Grass growing in a window planter. Medical models in hats. The wooden frames. Leafy plants and sometimes flowers in vases, which seem to come from just outside. The bust of a great-bearded man, Aristotle?

(500) DAYS OF SUMMER (2009)

• Tom's apartment. The colours. I doubt that young, single, 20-something men have this kind of apartment with all this decorative STUFF, but the colours are interesting. The architectural ephemera and paraphernalia.

PRIDE & PREJUDICE (2005)

• The Bennet house, overrun with femininity. The strewn soft dresses, the floral patterns and worn wood, the pond-moat.

AN AMERICAN IN PARIS (1951)

• Jerry Mulligan's apartment. I watched the beginning when I was a kid, and I was absolutely thrilled when he woke up and put his bed and things away by pulling strings with pulleys. Small, ingenious apartment.

THE EDGE OF LOVE (2008)

• Vera's apartment. The makeshift divider out of sheets, the large, overflowing beds, the filtered light from small, dirty windows. As with the Bennet house, the layers of femininity and light dresses. Mixed with nylons and cigarette smoke.
• The Wales bungalows. Vera's collages and the bathroom. The shared happenstance between the two bungalows, as evidenced in the shared belongings and meals and etc.

STARTER FOR 10 (2006)

• Brian Jackson's dormitory room. The books, the culture, the mattress on the floor, all clustered near the window.

GOOD WILL HUNTING (1997)

• Will Hunting's room. Just books and a mattress on the floor in a dilapidated house in a blue-collar neighborhood of Boston.

SWEDISH AUTO (2006)

• Carter's room. It's pretty much the same as Will Hunting's with the mattress and books, but the door is pretty cool, large windows, padlocked, about two feet off the ground and without steps. It's next to the railroad tracks. As you can see, I have a great attraction towards mattresses and books.

CHILDREN OF MEN (2006)

• Jasper's hideout, the intellectual mecca. Piles and piles of books. Transitory spaces that are both inside and out. The weed room. The way the light filters through dirty windows. The way the trees bend. And as with the entire film, the animals. All the additional paraphernalia stacked among the books, the reference trivia, and the news clippings pasted to the windows. A lot of it is for his wife to see everything and to be content and warm and sweet and safe. Precisely what I'd like to end up with towards the end of my life.

ON THE ROAD (2012)

• Sal's room in his mother's flat. What were normal people like before the ubiquity of handheld technology? I ask this all the time. And how did they live? What were the empty parts of their days composed of? Sal is a writer, but he's still a straight-forward guy. His room is full of books, books, books, books. Books are the only way to get information in 1947. And so he has books stacked three high, four deep at the end of his desk. In the small shelves above his bed. In and on top of a narrow and short bookshelf between the two yellow windows. And they continue on the shelves above his desk where he has a smoking and overflowth ashtray and a typewriter with the words "fuckfuckfuckfuckfuck" spelled out. The energy and the anxiety in that tiny room seep out into the other rooms, where his mother wonders and worries.

THE SHINING (1980)

• The family's home in the opening scene. Books, books, books EVERYWHERE. Shelves full of books, books piled up, Catcher In the Rye in Shelley Duvall's hand. The rest of the place is devoid of any other characteristics, so this scene is about the books.