J.C. Chandor's Message in a Bottle

The 'All Is Lost' director discusses Robert Redford, sailboats and why his film has few words.

J.C. Chandor and Robert Redford on the set of "All Is Lost," about a man lost at sea.
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Everything Robert Redford says in the film "All Is Lost" is more or less limited to a single letter he reads that serves as a prologue for the film.

"I think you would all agree that I tried. I will miss you. I'm sorry," his voice-over narrates.

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Redford's character – who is never given a name, referred to only as "Our Man" in the closing credits – actually scribes the note much later in the film, after facing a bevy of challenges when his sail boat crashes into a cargo container hundreds of miles offshore in the Indian Ocean. But according to "All Is Lost" director and writer J.C. Chandor, the letter provides crucial insight to Redford's otherwise ambiguous character.

"He was leaving some sense of community – there were roots, there was a home that he was leaving and that he was mourning in a way, not having fulfilled certain things and there were things left unsaid," he says. "That opening sort of piece, it's very nonspecific in certain ways. But about anything that's meaningful in a person's life, it's actually very specific."

The letter is also where Chandor started when he began writing the film – what he says was at first an "experiment" – while he was editing his first film, 2011's "Margin Call," about the financial crisis.

"The letter came to me, then it was how do you take a character to a place in an interesting way to write a letter like that?" he says. "It's almost a farewell note that I hope I never write with all these things left unsaid and the apologies and everything else. You would love to have nothing to apologize for when you meet the end."


After the letter, Chandor doesn't need any more words to tell his tale of a man meeting his end.

"Our Man" – an American in his twilight years (Redford is 77, but looks younger in the film) on a solo trip out at sea – wakes up to find that his boat, the Virginia Jean, is taking on water through a puncture to its side. At first, he seems a little blasé about the matter, patching up the hole and continuing on his journey. But with his electronics and radio ruined by the water damage, he slowly realizes he is in for the fight of his life. He must employ every last ounce of ingenuity to navigate his boat though calm and stormy seas to a shipping lane that he hopes will bring him rescue.

Casting Redford was crucial for the movie, as Chandor felt Redford brings his own backstory – which includes not only his iconic film career, but also the Sundance Film festival and a host of social causes – that would help audiences to connect with the character.

"My hope was that the shared history would be there for the audience in the back of their minds," Chandor says, "But by taking away his voice you're essentially allowing the audience to have a fresh take at him."

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Redford thus becomes a character the audience can project their own thoughts, fears and feelings on, as they face death alongside him. The action moves quickly in "All Is Lost," leaving little time for reflection. The film asks audiences to not just observe the character's challenges, but go on the journey with him.

"I really believed from the minute I wrote it, that by leaving some of the things left unsaid, you as an audience member are allowed to come into the story and take him on as your every man," Chandor says.

Of course, "All Is Lost" was only able to pull this off on the strength of Redford's performance. Chandor called the filming process "intense," "methodical" and "grueling." But the work paid off. Critics have called "All Is Lost" a career high for Redford.

"He has this amazing, innate ability and practice – it's something he's learned after all these years – to actually communicate non-verbally complex emotional transitions: from fear to perseverance, from boredom to horror, whatever those transitions were."

Chandor's script was a tight 30 pages and reviewers rave that not a single moment is wasted. While shooting, Chandor and Redford would typically go over a scene's movements and then work out an emotional "road map" of the character's response to the sequence of events.