'All the Light We Cannot See' director Shawn Levy talks about adapting 5 key scenes from the Pulitzer Prize-winning novel.
). Feeling the model triggers a memory of how her dad once built a similar model of Paris for her as a child so that, if they were to ever separate or she were to venture out alone, she could find her way around. The sequence begins with a grown-up Marie-Laure feeling her way through St. Malo as the camera then transitions to the flashback of her younger self learning her way around Paris with her father.
More than that, Levy considers these wooden models to be "totems of the love and devotion" Daniel feels for his daughter. He built them to foster Marie-Laure's autonomy and independence, regardless of sight. "The father-daughter relationship, more generally, resonated for me powerfully in the book," the filmmaker says. "I knew, especially if I was gonna direct every episode, that the father-daughter connection and love would be at the core of the storytelling.
Siedler remains as complex a character on screen as he is in the source material. He's a relatively low-ranking Nazi official who's valuable in that he delivers young prodigies to indoctrination camps. "Werner is his passport to importance with his Nazi bosses, and that's an interesting dimension," Levy says. Though, the director also makes note of the inner turmoil he feels surrounding Werner, a boy for which he feels paternal in his own way.
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