1
00:00:00,200 --> 00:00:03,120
Hi, I'm Sneen Song. 
And I'm Eva Victor, and this is 

2
00:00:03,120 --> 00:00:07,360
the A 24 podcast. 
Wait, why did I nail it? 

3
00:00:07,360 --> 00:00:09,040
Are we doing it right now? 
I think we're doing it right 

4
00:00:09,040 --> 00:00:10,840
now. 
That's so awesome because it was

5
00:00:10,840 --> 00:00:12,920
such a seamless transition. 
You wouldn't even know we're 

6
00:00:12,920 --> 00:00:14,840
doing the podcast. 
Yeah, when they were saying it's

7
00:00:14,840 --> 00:00:17,600
like, well, who would you do? 
I was like, who would I do a 

8
00:00:17,600 --> 00:00:20,360
podcast with for this movie? 
And I was like, and then when 

9
00:00:20,560 --> 00:00:22,640
you asked and I was like, Oh my.
God, thank you for doing. 

10
00:00:22,640 --> 00:00:26,080
It we can do it together. 
Did you see Avanya on 42nd St. 

11
00:00:26,080 --> 00:00:29,640
Have you seen that movie? 
It's like Andre Gregory. 

12
00:00:30,160 --> 00:00:33,440
It's really cool, but that's how
they do that play. 

13
00:00:33,560 --> 00:00:35,480
Like it looks like all the 
audiences are just talking to 

14
00:00:35,480 --> 00:00:36,600
each other and they're one of 
them. 

15
00:00:36,600 --> 00:00:38,240
Waggy is that. 
It's so cool. 

16
00:00:38,400 --> 00:00:40,280
It's just mind blowing when 
you're in the audience and 

17
00:00:40,280 --> 00:00:42,200
you're like, the play has begun.
The. 

18
00:00:42,240 --> 00:00:43,880
Play has begun, just like this 
podcast. 

19
00:00:43,880 --> 00:00:45,480
The Play the podcast. 
Has it's begun? 

20
00:00:46,040 --> 00:00:47,680
Yeah, Oh my God, how are you 
feeling? 

21
00:00:47,680 --> 00:00:49,400
How are you? 
How's. 

22
00:00:49,440 --> 00:00:52,280
Premiere. 
I definitely had a martini 

23
00:00:52,520 --> 00:00:56,200
that's great, which for me was 
like New York martini 

24
00:00:56,200 --> 00:00:59,520
celebration grown up. 
I mean, I can't drink at those 

25
00:00:59,520 --> 00:01:01,040
things. 
Yeah, you know, because you're 

26
00:01:01,040 --> 00:01:03,800
just like protecting yourself. 
No, not really even I feel like 

27
00:01:03,800 --> 00:01:05,360
I just forget to. 
I know well. 

28
00:01:05,640 --> 00:01:07,280
There's no time. 
There's no time. 

29
00:01:07,280 --> 00:01:09,080
And then whenever I'm thinking 
I'm like, I should drink 

30
00:01:09,080 --> 00:01:11,560
something, it's usually like 
water, Water that because I'm 

31
00:01:11,560 --> 00:01:13,400
like so thirsty. 
I know, I know. 

32
00:01:13,400 --> 00:01:15,520
But you know, I am doing this 
like punishing thing where I'm 

33
00:01:15,520 --> 00:01:18,000
not drinking water to see like 
what my body can take. 

34
00:01:18,200 --> 00:01:19,800
OK, You can't do that. 
I know, I know. 

35
00:01:19,800 --> 00:01:22,960
And you have to what I drink. 
I try to as much as I can. 

36
00:01:23,360 --> 00:01:24,720
Are you for real? 
You drink water all the time. 

37
00:01:24,720 --> 00:01:25,880
You. 
Have to like also. 

38
00:01:25,880 --> 00:01:27,840
I mean, I'm still don't drink 
enough. 

39
00:01:27,880 --> 00:01:29,520
Yeah, but I am. 
Told to. 

40
00:01:29,880 --> 00:01:31,720
By who? 
Mainly my husband. 

41
00:01:31,760 --> 00:01:33,320
Yeah, well, good for him. 
He's. 

42
00:01:33,480 --> 00:01:35,920
Always like love. 
He's always like, you just need 

43
00:01:35,920 --> 00:01:38,200
to hydrate. 
But don't guy, I thought guys 

44
00:01:38,200 --> 00:01:41,520
are like obsessed with like 
having like people drink water. 

45
00:01:41,720 --> 00:01:42,600
Yeah. 
What is that? 

46
00:01:42,680 --> 00:01:45,680
It's like love and also 
psychoticness and dad shit or. 

47
00:01:45,760 --> 00:01:47,680
Something, maybe it's something 
like that, but maybe it's like 

48
00:01:47,680 --> 00:01:49,920
the one thing maybe they figured
out is that. 

49
00:01:50,000 --> 00:01:51,320
Makes me feel good. 
Water is good. 

50
00:01:51,320 --> 00:01:53,280
That's the one thing in this 
world that's like, constantly. 

51
00:01:53,680 --> 00:01:55,920
Yeah. 
And it's like and you can get it

52
00:01:56,360 --> 00:01:57,520
and it's basically. 
Free. 

53
00:01:57,960 --> 00:01:59,880
In New York, anyway. 
You know what I don't like is 

54
00:01:59,880 --> 00:02:05,000
watching anyone, but 
particularly men, chug water for

55
00:02:05,000 --> 00:02:07,160
a while and watching it go down 
their throat like. 

56
00:02:08,639 --> 00:02:10,600
I think I like men a lot. 
You love men. 

57
00:02:10,880 --> 00:02:13,200
I think I do. 
Because tell me everything that 

58
00:02:13,240 --> 00:02:16,240
and then I am like. 
You're like, that's hot. 

59
00:02:16,320 --> 00:02:17,920
Kind of, but you. 
Tell me what? 

60
00:02:17,920 --> 00:02:20,080
Why? 
Because it's like they're 

61
00:02:20,440 --> 00:02:23,400
fulfilling an essential need. 
No, I don't know. 

62
00:02:23,400 --> 00:02:27,040
I think that I don't know. 
I find them so charming. 

63
00:02:27,160 --> 00:02:28,960
You find men charming, Yeah. 
I do. 

64
00:02:29,200 --> 00:02:31,480
I find someone very charming. 
Yeah, I think some men are 

65
00:02:31,480 --> 00:02:34,280
terming, but I feel like part of
like part of that is like you 

66
00:02:34,280 --> 00:02:37,400
just kind of go like, OK, it's 
part of I think knowing them 

67
00:02:37,400 --> 00:02:39,960
too, getting to know them. 
But if you. 

68
00:02:40,040 --> 00:02:43,440
Know and love chug water that 
could be very beautiful for you 

69
00:02:43,440 --> 00:02:44,760
it. 
Could be very beautiful, but 

70
00:02:44,760 --> 00:02:47,440
also like, I think that it's 
because like I just find them to

71
00:02:47,440 --> 00:02:49,960
be. 
I mean, I guess charming is the 

72
00:02:49,960 --> 00:02:51,480
best word. 
For it, well, they're so 

73
00:02:51,480 --> 00:02:53,000
different. 
They are so different. 

74
00:02:53,800 --> 00:02:56,160
They do the weirdest stuff. 
Yeah, yeah. 

75
00:02:56,160 --> 00:02:58,760
Well, it's like they were born 
into a different world in a way,

76
00:02:58,920 --> 00:03:01,120
completely like a world that was
built for them. 

77
00:03:01,480 --> 00:03:02,880
It's so awesome. 
It is kind of. 

78
00:03:02,880 --> 00:03:05,640
I admire that. 
I mean, I don't admire that, but

79
00:03:05,880 --> 00:03:09,480
I do think that is very, it 
brings a different perspective. 

80
00:03:09,480 --> 00:03:11,360
Yeah, I know it's. 
Huge to write, to walk into a 

81
00:03:11,360 --> 00:03:14,720
world and then be like, oh this 
is built for me and this is for 

82
00:03:14,720 --> 00:03:15,120
me. 
Right. 

83
00:03:15,120 --> 00:03:17,920
And they're like, have some 
water, have some world. 

84
00:03:18,960 --> 00:03:19,480
Yeah. 
Wait. 

85
00:03:19,520 --> 00:03:20,040
Oh, wait. 
OK. 

86
00:03:20,040 --> 00:03:21,840
So how are you feeling? 
I feel. 

87
00:03:21,840 --> 00:03:23,080
Good. 
Yes. 

88
00:03:23,080 --> 00:03:24,520
Yeah. 
I mean, my movie's out in the 

89
00:03:24,520 --> 00:03:25,720
world. 
You're going to come out so 

90
00:03:25,720 --> 00:03:27,920
soon? 
And and, you know, I've never 

91
00:03:27,920 --> 00:03:31,520
felt more clear on what the word
release means. 

92
00:03:31,520 --> 00:03:35,000
Yeah, I didn't understand. 
Oh yeah, you're having a whole 

93
00:03:35,000 --> 00:03:37,320
thing. 
And I feel like I was doing this

94
00:03:37,320 --> 00:03:40,320
in 2023. 
I feel like you and I are having

95
00:03:40,320 --> 00:03:41,520
a. 
It's a vibe. 

96
00:03:41,720 --> 00:03:45,680
Similar time, aren't we? 
How does you're feeling right 

97
00:03:45,680 --> 00:03:47,320
now compared to your feeling 
then? 

98
00:03:48,280 --> 00:03:52,840
Oh, I feel like you must know 
exactly how I was feeling at 

99
00:03:52,840 --> 00:03:56,320
that time in 2023, like back 
when Past Lives was coming out, 

100
00:03:56,320 --> 00:03:59,200
where you were being introduced 
to the world in a really 

101
00:03:59,200 --> 00:04:02,560
beautiful way with you in your 
film, and you just come to 

102
00:04:02,560 --> 00:04:04,160
Sundance. 
It was so wonderful. 

103
00:04:04,560 --> 00:04:06,800
And then shout out to you and 
shout out to you. 

104
00:04:07,280 --> 00:04:10,240
And then, you know, so I feel 
like you get to come out of 

105
00:04:10,240 --> 00:04:12,720
Sundance and you have all this 
like, amazing. 

106
00:04:14,040 --> 00:04:15,360
You're like meeting your 
audience. 

107
00:04:15,480 --> 00:04:17,120
Right. 
It's very so magical. 

108
00:04:17,279 --> 00:04:19,120
Weird. 
It's very, very magical and 

109
00:04:19,120 --> 00:04:20,519
weird. 
It is pretty weird. 

110
00:04:20,519 --> 00:04:23,640
I mean, cause something that I 
think about a lot is that you're

111
00:04:23,640 --> 00:04:27,520
visible but not seen sometimes, 
you know, because you're very, 

112
00:04:27,520 --> 00:04:31,600
very visible, but it's only a 
handful of people who really see

113
00:04:31,600 --> 00:04:34,040
you. 
And even when I talk to, when I 

114
00:04:34,040 --> 00:04:36,160
do interviews and stuff like 
that, I think about that a lot. 

115
00:04:36,160 --> 00:04:39,560
I'm always like, oh, this 
journalist, this writer really 

116
00:04:39,560 --> 00:04:41,440
sees me. 
Or sometimes you're like, oh, 

117
00:04:41,440 --> 00:04:43,880
this, I'm just visible to this 
person. 

118
00:04:44,560 --> 00:04:46,320
Oh, that's such an important 
distinction. 

119
00:04:46,320 --> 00:04:48,760
And when you feel seen, that's 
such a euphoric feeling. 

120
00:04:48,800 --> 00:04:50,680
Oh. 
Yeah, well, and that's why you. 

121
00:04:50,800 --> 00:04:53,000
That's what you're looking for. 
That's why we're making a movie.

122
00:04:53,000 --> 00:04:53,960
Yes. 
Right. 

123
00:04:53,960 --> 00:04:56,600
And also, of course, you're so 
seen in your film, you know? 

124
00:04:56,600 --> 00:04:57,200
Right. 
Yeah. 

125
00:04:58,040 --> 00:04:59,800
As is everyone. 
I agree. 

126
00:04:59,800 --> 00:05:02,920
I mean, I think that you can see
me really well in my movie, you 

127
00:05:02,920 --> 00:05:04,840
know what I mean? 
Yeah. 

128
00:05:04,840 --> 00:05:08,160
I feel like I'm like, really we 
just cause part of it is like we

129
00:05:08,160 --> 00:05:12,360
are especially being like having
as much authority on it as we 

130
00:05:12,360 --> 00:05:14,080
can. 
I'm sure it's like, if you don't

131
00:05:14,080 --> 00:05:17,080
have as much authority on it, 
then maybe like, you know, 

132
00:05:17,080 --> 00:05:20,520
somebody else is in it. 
But for our movies, we just get 

133
00:05:20,520 --> 00:05:23,040
to how lucky are we? 
I I mean, that's the thing that 

134
00:05:23,040 --> 00:05:27,560
I feel allows me to sleep at 
night is like I feel that it is 

135
00:05:27,560 --> 00:05:31,240
the film I wanted to make and 
that I am in it in the way I 

136
00:05:31,240 --> 00:05:34,120
wanted to be in it. 
Like heart wise. 

137
00:05:34,240 --> 00:05:35,840
Yeah, yeah. 
Totally. 

138
00:05:36,280 --> 00:05:39,640
Well, I think it's like you got 
to be in it and then now it's 

139
00:05:39,640 --> 00:05:43,000
being, it is of course very 
visible and you want to be as 

140
00:05:43,000 --> 00:05:47,600
visible as possible so that as 
many people who see it anyway, 

141
00:05:48,160 --> 00:05:51,280
you can feel seen in it. 
Yeah, it's like giving yourself 

142
00:05:51,280 --> 00:05:53,560
as much opportunity to find 
people who can see it. 

143
00:05:53,600 --> 00:05:58,760
Exactly like weird too because 
visibility isn't emotional. 

144
00:05:59,120 --> 00:06:00,840
No. 
There's nothing to hold on to, 

145
00:06:01,480 --> 00:06:04,920
no. 
But it looks, it looks shiny and

146
00:06:04,920 --> 00:06:06,840
great, you know? 
Yeah. 

147
00:06:06,840 --> 00:06:07,880
So it's. 
Yes, yeah. 

148
00:06:07,920 --> 00:06:10,840
But then I feel like once in a 
while, like I'll talk to 

149
00:06:10,840 --> 00:06:13,520
somebody or something and I'll 
be like, oh wow, you're really. 

150
00:06:14,040 --> 00:06:16,840
So you actually you actually saw
me in the movie? 

151
00:06:16,880 --> 00:06:18,240
Yes. 
That's so magical. 

152
00:06:18,360 --> 00:06:21,720
That, yeah, it's like a drop of 
water and you're so thirsty and,

153
00:06:21,720 --> 00:06:25,800
like, feeling that. 
And when someone sees how you 

154
00:06:25,800 --> 00:06:27,840
are in it, that is the thing 
that, like, allows you to 

155
00:06:27,840 --> 00:06:30,320
believe that it made sense that 
you did it and that you do it. 

156
00:06:30,320 --> 00:06:31,640
And because it's such a hard 
job. 

157
00:06:31,800 --> 00:06:35,040
Oh yeah, yeah. 
You mean like being visible? 

158
00:06:35,520 --> 00:06:38,160
Well, just making a movie. 
Sure. 

159
00:06:38,600 --> 00:06:41,640
You're like, it's easy to me. 
No, it's not easy to me, but I 

160
00:06:41,640 --> 00:06:43,680
think part of it is that I don't
know. 

161
00:06:43,680 --> 00:06:47,640
Everyday I feel like I was on 
set for my second movie because 

162
00:06:47,640 --> 00:06:50,120
I feel like part of making the 
first movie though is that I 

163
00:06:50,120 --> 00:06:53,040
don't think that I knew how to 
appreciate it because it was 

164
00:06:53,040 --> 00:06:56,160
coming at me so fast. 
Like I was just kind of like, 

165
00:06:56,760 --> 00:07:00,720
oh, OK, Day 2. 
What's happening now? 

166
00:07:00,720 --> 00:07:02,920
Yeah, and then day three. 
Oh my God, right. 

167
00:07:03,120 --> 00:07:04,720
And OK, so be wrapped. 
What happens now? 

168
00:07:04,720 --> 00:07:06,920
So so much of it is like. 
Not knowing. 

169
00:07:06,920 --> 00:07:10,640
Not knowing and figuring out on 
the way, but in the second movie

170
00:07:10,640 --> 00:07:12,960
I feel like. 
Yeah, tell me, tell me like how 

171
00:07:12,960 --> 00:07:16,000
did it feel like prepping that? 
And like, yeah, tell me like 

172
00:07:16,680 --> 00:07:18,600
your how your mind was. 
Because you're going to do it 

173
00:07:18,600 --> 00:07:20,960
soon. 
Someday I need to sleep for a 

174
00:07:21,000 --> 00:07:22,480
second. 
Yeah, of course, after you 

175
00:07:22,480 --> 00:07:24,880
sleep. 
No, but like I'm really curious 

176
00:07:24,880 --> 00:07:26,960
about that, obviously. 
Yeah. 

177
00:07:26,960 --> 00:07:30,400
Well, I think that what's 
amazing is that you just kind 

178
00:07:30,400 --> 00:07:32,520
of, I felt really lucky doing 
it. 

179
00:07:32,800 --> 00:07:36,280
Like every day I feel like I got
unsaid and I'll find my first AD

180
00:07:36,280 --> 00:07:39,560
and I'll just be like, and he'll
tell me like everything that 

181
00:07:39,560 --> 00:07:42,040
isn't going according to plan, 
things that are going to 

182
00:07:42,040 --> 00:07:45,320
according to plan, all the 
difficult news from the morning.

183
00:07:45,320 --> 00:07:46,920
And then I'll just listen to 
everything. 

184
00:07:46,920 --> 00:07:48,800
I'll be like, OK, we're going to
figure all those things out. 

185
00:07:49,840 --> 00:07:52,920
But how lucky that we get to 
make a movie today, right? 

186
00:07:52,920 --> 00:07:54,760
It sounds like we can still go 
today. 

187
00:07:55,520 --> 00:08:00,560
So I think that that part of it 
is so special. 

188
00:08:00,560 --> 00:08:03,280
And also, I mean, I got to make 
the movie that I wanted to 

189
00:08:03,280 --> 00:08:06,680
afford those movies, you know? 
Yes, how did it because there's 

190
00:08:06,800 --> 00:08:09,960
there's a real gift in the 
privacy of making a first movie 

191
00:08:09,960 --> 00:08:13,680
and not having the visibility 
because it's just you and your 

192
00:08:13,680 --> 00:08:17,800
people and and no eyes that are 
watching for weird reasons. 

193
00:08:17,800 --> 00:08:22,400
And how did you navigate like 
walking into with so much 

194
00:08:22,400 --> 00:08:26,000
visibility? 
Like you seriously are like so 

195
00:08:26,000 --> 00:08:32,240
known and I feel like the 
percentage of like, I mean, I 

196
00:08:32,240 --> 00:08:35,320
don't know how it felt inside of
it, but like how many people I 

197
00:08:35,320 --> 00:08:38,720
think saw you not just, you 
know, saw the film, but like saw

198
00:08:38,760 --> 00:08:41,440
you inside it. 
Like it was a remarkable moment.

199
00:08:41,799 --> 00:08:44,560
And it's a, it's such a lasting 
film. 

200
00:08:44,960 --> 00:08:48,720
And like, how did it feel 
walking into with that 

201
00:08:48,720 --> 00:08:51,160
visibility? 
Like did it like 'cause you were

202
00:08:51,160 --> 00:08:52,360
saying like you felt pretty 
grateful. 

203
00:08:52,360 --> 00:08:58,560
Like that's an amazing way to to
process that the like potential 

204
00:08:58,560 --> 00:09:01,320
pressure of visibility and to 
being like, I'm grateful to be 

205
00:09:01,320 --> 00:09:03,120
here. 
Well, is that most of it? 

206
00:09:03,120 --> 00:09:04,920
Well. 
I feel like some of it is like, 

207
00:09:04,960 --> 00:09:07,120
first of all, I'm not that 
known, but I feel like in New 

208
00:09:07,120 --> 00:09:09,040
York, of course, maybe more. 
Yeah. 

209
00:09:09,080 --> 00:09:10,520
Because it's, you know, past 
lives. 

210
00:09:10,520 --> 00:09:12,720
Such a New York movie. 
Yeah, I made it here already. 

211
00:09:12,760 --> 00:09:13,880
Own place. 
Yeah. 

212
00:09:13,880 --> 00:09:17,720
And then also, like, your 
footprint is so huge, and then 

213
00:09:17,720 --> 00:09:19,520
you know, you're taking over a 
whole block, right? 

214
00:09:19,520 --> 00:09:20,600
A movie, right? 
Right. 

215
00:09:20,600 --> 00:09:22,280
And it disrupts it. 
Disrupts, of course, and 

216
00:09:22,320 --> 00:09:24,280
everybody's like, what? 
What are you shooting here, you 

217
00:09:24,280 --> 00:09:25,600
know? 
And is it worth blocking my 

218
00:09:25,640 --> 00:09:26,040
truck? 
Yeah. 

219
00:09:26,160 --> 00:09:28,640
Exactly. 
So but I think it's like some of

220
00:09:28,640 --> 00:09:32,880
it is about, well, you can take 
that as that attention or that 

221
00:09:33,000 --> 00:09:37,280
all the visibility as a thing 
that is like really in the way 

222
00:09:37,280 --> 00:09:40,640
and it's very annoying, yes. 
Or you can really think of it as

223
00:09:40,640 --> 00:09:43,120
like, well, how amazing that 
everybody wants to know what my 

224
00:09:43,120 --> 00:09:44,760
next movie is going to be, 
right, right. 

225
00:09:44,760 --> 00:09:47,480
Because that what that means is 
that they're interested and 

226
00:09:47,480 --> 00:09:48,560
that. 
If they're around, they're 

227
00:09:48,560 --> 00:09:49,240
there. 
They're waiting. 

228
00:09:49,400 --> 00:09:52,080
And the dream is that if the 
dream is that you're somebody 

229
00:09:52,080 --> 00:09:55,360
who makes culture, if you're 
somebody who gets to have an 

230
00:09:55,360 --> 00:10:00,240
audience that you hope to grow 
and expand and find new corners 

231
00:10:00,240 --> 00:10:02,240
in, then you there's a part of 
it. 

232
00:10:02,280 --> 00:10:06,320
You just have to be like, so 
cool that everybody cares, you 

233
00:10:06,360 --> 00:10:07,760
know? 
Why is this therapy? 

234
00:10:07,760 --> 00:10:09,080
Yeah. 
I mean, I feel like it's always 

235
00:10:09,080 --> 00:10:11,840
good, you know, it's called any 
conversation I think has a 

236
00:10:12,120 --> 00:10:14,000
therapeutic element if you get 
deep enough. 

237
00:10:14,200 --> 00:10:16,920
You know, they keep us apart. 
They have a director, own 

238
00:10:16,920 --> 00:10:18,680
movies. 
We don't get to talk as much. 

239
00:10:18,840 --> 00:10:21,880
We just don't but but I think 
that that's why I kind of really

240
00:10:21,880 --> 00:10:23,800
like this. 
Yeah, it's nice. 

241
00:10:24,360 --> 00:10:26,120
Yeah. 
I feel like it meant a lot 

242
00:10:26,120 --> 00:10:29,440
because I did the one that I did
before with Sofia Coppola, and 

243
00:10:29,440 --> 00:10:31,880
that I feel like that was one of
those most moments where you 

244
00:10:31,880 --> 00:10:34,560
just get to sit and you just 
talk about like what this all 

245
00:10:34,560 --> 00:10:37,120
actually feels. 
Like, right, I know because it's

246
00:10:37,120 --> 00:10:40,200
such a such a weird and you 
catch each other at really weird

247
00:10:40,200 --> 00:10:42,640
times. 
Like, Oh yeah, every week is 

248
00:10:42,640 --> 00:10:44,000
different. 
Oh yeah. 

249
00:10:44,000 --> 00:10:46,240
And then my other thing I wanted
to say about what you said 

250
00:10:46,240 --> 00:10:51,520
before, like I feel like I'm 
understanding now how little 

251
00:10:51,960 --> 00:10:55,880
time it is that you're you get 
to be on set in the scheme of 

252
00:10:55,880 --> 00:10:57,560
making a film. 
Like I don't think I understood 

253
00:10:57,560 --> 00:11:00,320
that when I was walking into it.
I thought on set was like the 

254
00:11:00,320 --> 00:11:05,040
big and it is like so big, but 
time wise, it's like this blip 

255
00:11:05,280 --> 00:11:07,960
in the making of a film. 
And like, the further I get from

256
00:11:07,960 --> 00:11:11,440
it, like I understand why that 
time is so precious, like as 

257
00:11:11,440 --> 00:11:15,120
artists, because it's where you 
really get to work. 

258
00:11:15,240 --> 00:11:18,480
Yeah, well, that's why you're 
all, that's what you're all 

259
00:11:18,480 --> 00:11:20,440
doing together, right? 
Right. 

260
00:11:20,600 --> 00:11:21,920
And it's also where the team is 
the. 

261
00:11:21,920 --> 00:11:24,440
Biggest Yes, it's true, but I 
do. 

262
00:11:24,440 --> 00:11:27,480
Think that being a filmmaker, 
being the director, it's like 

263
00:11:27,480 --> 00:11:32,360
you get to know every single 
person who works on the movie in

264
00:11:32,360 --> 00:11:33,720
a way that no one else does. 
Yes. 

265
00:11:34,080 --> 00:11:36,600
And you're you have A and it 
feels like people come in as 

266
00:11:36,600 --> 00:11:40,640
like it's like a quest and like,
I mean, it's like the really 

267
00:11:40,640 --> 00:11:43,960
important part of the piece, 
like, and you meet sort of like 

268
00:11:44,280 --> 00:11:47,600
after after production, which is
so hectic and like adrenaline 

269
00:11:47,600 --> 00:11:49,600
fueled. 
You get to go do the edit, which

270
00:11:49,600 --> 00:11:52,200
is like kind of the balm to 
production, which is time, but 

271
00:11:52,200 --> 00:11:54,680
also it's like a nightmare. 
But it's also intimate in this 

272
00:11:54,680 --> 00:11:57,240
way that's new. 
Like it's a very cool job. 

273
00:11:57,240 --> 00:12:00,320
Well, it's like everybody is 
like showing up for the great 

274
00:12:00,320 --> 00:12:01,320
affair. 
Right. 

275
00:12:01,800 --> 00:12:04,120
Like, it's if you're kind of 
like having this amazing, 

276
00:12:04,120 --> 00:12:06,960
beautiful creative affair for 
different phases of your making 

277
00:12:06,960 --> 00:12:07,680
a movie. 
Yeah. 

278
00:12:08,080 --> 00:12:12,120
But then at the end of the day, 
the whole thing is you're the 

279
00:12:12,120 --> 00:12:14,640
only one who has the whole 
picture, right? 

280
00:12:14,840 --> 00:12:18,000
And you're the only one who 
knows the studio head and who's,

281
00:12:18,320 --> 00:12:21,000
you know, signing the checks and
also the guy who's carrying the 

282
00:12:21,000 --> 00:12:23,160
boom mic, Yes. 
But you're the one who knows all

283
00:12:23,160 --> 00:12:25,280
of them, yes. 
So in a way, it's like this 

284
00:12:25,280 --> 00:12:29,920
amazing thing where you just get
to see the picture of like every

285
00:12:29,920 --> 00:12:32,120
single person who touches this 
movie, yes. 

286
00:12:32,120 --> 00:12:36,560
It's big and it's and it becomes
and you give the movie away over

287
00:12:36,560 --> 00:12:38,480
and over and that and that is 
nice. 

288
00:12:38,520 --> 00:12:41,240
Oh yeah, I mean like when the to
the collaborators. 

289
00:12:41,280 --> 00:12:43,640
Yes. 
Or like it just it's like so 

290
00:12:43,640 --> 00:12:46,440
much. 
It becomes everyone's film in a 

291
00:12:46,440 --> 00:12:50,000
way that's like, really that. 
That part I find to be very 

292
00:12:50,000 --> 00:12:51,320
special. 
Well, I feel like the moment 

293
00:12:51,320 --> 00:12:54,160
where the department heads and 
then everybody truly, I mean 

294
00:12:54,160 --> 00:12:58,120
down to the as when they start 
to know what movie we're all 

295
00:12:58,120 --> 00:13:00,240
making. 
And then my favorite thing is 

296
00:13:00,240 --> 00:13:05,080
whenever my department heads 
just know the answers to the 

297
00:13:05,080 --> 00:13:08,520
questions, there's a moment in 
prep where it's because it used 

298
00:13:08,520 --> 00:13:10,520
to be that I'm the only person 
who could have answers. 

299
00:13:10,680 --> 00:13:14,680
And eventually I'll like my DP 
will know the right answer and 

300
00:13:14,680 --> 00:13:18,680
then he will actually know it 
before me faster, better, right?

301
00:13:19,240 --> 00:13:21,040
And that's really magical. 
And of course, it happens with 

302
00:13:21,040 --> 00:13:23,080
cast too. 
I mean, in your case, you're in 

303
00:13:23,080 --> 00:13:25,040
your film. 
No, but I mean the cast like 

304
00:13:25,040 --> 00:13:27,000
saves my life. 
Of course, because I mean they 

305
00:13:27,000 --> 00:13:28,960
are thinking about what they 
have to do. 

306
00:13:29,320 --> 00:13:32,640
Well, that is, you know that 
that I love that like someone 

307
00:13:32,640 --> 00:13:38,640
becomes the the like advocate 
for their thing and then they 

308
00:13:38,640 --> 00:13:42,640
become the expert. 
So and, and that to me with the 

309
00:13:42,720 --> 00:13:46,800
casting process, like the joy of
giving words to someone and then

310
00:13:46,800 --> 00:13:50,080
trusting that they understand 
that person more than like the 

311
00:13:50,080 --> 00:13:54,560
giving away, especially to 
actors, obviously to other like 

312
00:13:54,560 --> 00:13:57,000
to designers who and everyone. 
But but there was something 

313
00:13:57,000 --> 00:14:00,360
really special about being able 
to give away these slices of of 

314
00:14:00,720 --> 00:14:04,440
these people and and then they 
become whole people in front of 

315
00:14:04,440 --> 00:14:06,920
your eyes. 
Like, and you don't totally 

316
00:14:06,920 --> 00:14:08,080
understand how it got there, but
it's. 

317
00:14:08,080 --> 00:14:11,200
But it's just now it's a whole 
person because it's, yeah. 

318
00:14:11,200 --> 00:14:13,600
It's always better. 
I always think about this. 

319
00:14:13,640 --> 00:14:14,240
Right? 
Yeah. 

320
00:14:14,240 --> 00:14:17,120
Because like the person's 
bringing their whole humanity to

321
00:14:17,120 --> 00:14:20,080
the words on the page, which is 
like the words on a page is just

322
00:14:20,080 --> 00:14:21,640
a suggestion of a person. 
Yes. 

323
00:14:21,760 --> 00:14:23,480
Right. 
It's like walk down this road if

324
00:14:23,480 --> 00:14:25,560
you're interested, and then 
continue the road yourself 

325
00:14:25,560 --> 00:14:29,240
because you're the only one that
knows how to do it. 

326
00:14:29,520 --> 00:14:33,400
It's such a beautiful, it's such
a beautiful collaboration. 

327
00:14:33,480 --> 00:14:35,680
I know I love it. 
Well, I feel like when it comes 

328
00:14:35,680 --> 00:14:39,600
to the way that the like actors 
show up for it, it's like I feel

329
00:14:39,600 --> 00:14:43,720
like if you give them room, but 
the room has to be something 

330
00:14:43,720 --> 00:14:45,760
that is within the bounds of 
what you know about the 

331
00:14:45,760 --> 00:14:48,280
character. 
But as long as the walls of that

332
00:14:48,280 --> 00:14:50,880
room is clear, the actor can 
fill it with their. 

333
00:14:50,880 --> 00:14:52,560
Soul. 
Yeah, it's so. 

334
00:14:52,560 --> 00:14:56,400
Magical, you know. 
But that with materialists. 

335
00:14:56,400 --> 00:14:57,560
Watch that's. 
Really. 

336
00:14:57,560 --> 00:14:59,320
That's what it was, Yeah. 
Yeah. 

337
00:14:59,360 --> 00:15:02,920
You kind of like, it's like a 
bit of like there is a bit of a 

338
00:15:03,760 --> 00:15:06,840
target like that we all talk 
about as a target we're trying 

339
00:15:06,840 --> 00:15:08,480
to hit. 
How do you talk about that? 

340
00:15:08,840 --> 00:15:10,360
We talk. 
About like what I know about the

341
00:15:10,360 --> 00:15:11,720
character. 
You have to communicate 

342
00:15:11,720 --> 00:15:12,960
everything I know about the 
character. 

343
00:15:12,960 --> 00:15:14,800
Yes. 
And then of course there is a 

344
00:15:15,280 --> 00:15:16,720
always going to be a 
conversation. 

345
00:15:17,280 --> 00:15:20,760
And my rehearsals are more like 
table work. 

346
00:15:21,240 --> 00:15:24,280
It's not really. 
We don't really beat the lines, 

347
00:15:24,320 --> 00:15:26,080
yeah. 
We just kind of go through every

348
00:15:26,080 --> 00:15:29,640
line and we talk about if 
anybody has questions, what I 

349
00:15:29,640 --> 00:15:32,840
know about that line or what the
meaning of that line, what's 

350
00:15:32,840 --> 00:15:35,520
going on and then. 
Do you do you do rehearsals 

351
00:15:35,640 --> 00:15:37,000
before? 
Like what is your rehearsal 

352
00:15:37,000 --> 00:15:39,760
process? 
Like I do it during prep and 

353
00:15:39,760 --> 00:15:43,320
then of course when we hit the 
set, the day begins with 

354
00:15:43,720 --> 00:15:46,200
rehearsal. 
For the whole day or just for 

355
00:15:46,200 --> 00:15:48,800
the the scene you're doing? 
So the scene I'm doing. 

356
00:15:48,800 --> 00:15:50,800
OK, just checking. 
Yeah, yeah, scene you're doing 

357
00:15:50,800 --> 00:15:54,240
and like when everybody's there 
and then we all like, but a part

358
00:15:54,240 --> 00:15:56,600
of the rehearsal is actually 
just more like blocking. 

359
00:15:56,720 --> 00:15:58,320
I agree, yeah. 
What about you? 

360
00:15:58,720 --> 00:16:01,280
I mean also, how do you do, I 
need to ask, how do you do it 

361
00:16:01,280 --> 00:16:03,640
while you're in the scene as a 
main character? 

362
00:16:03,720 --> 00:16:06,040
Too, Yeah. 
I mean, honestly, I prepared 

363
00:16:07,600 --> 00:16:10,600
everything to the point of 
insanity because I have a ton of

364
00:16:10,600 --> 00:16:15,320
anxiety and my way through the, 
the like year before I shot the 

365
00:16:15,320 --> 00:16:19,080
film was preparing the 
directing. 

366
00:16:19,160 --> 00:16:22,640
Like I mean, as best as you can 
before prep, just like thinking 

367
00:16:22,640 --> 00:16:25,800
through everything and, and, and
storyboarding so that I could 

368
00:16:25,800 --> 00:16:28,080
kind of because I never made 
anything. 

369
00:16:28,080 --> 00:16:31,920
So I was like, I need to create 
visuals to understand if I like 

370
00:16:31,920 --> 00:16:34,000
them. 
Like I had to sort of draw. 

371
00:16:34,320 --> 00:16:36,760
And then my acting prep was a 
lot. 

372
00:16:36,760 --> 00:16:38,840
It was just, it was kind of like
table work stuff too, where I 

373
00:16:38,840 --> 00:16:41,720
just sat with my acting coach 
and we talked about sort of this

374
00:16:41,720 --> 00:16:46,760
person's transformation and how 
much we needed to convey in the 

375
00:16:46,760 --> 00:16:49,480
few scenes we have before my 
character goes through something

376
00:16:49,480 --> 00:16:52,000
really intense. 
And then sort of this journey 

377
00:16:52,000 --> 00:16:54,960
and how to just kind of stay 
honest with every moment. 

378
00:16:54,960 --> 00:17:00,960
And, and it was, I mean, I, I 
did have an acting coach who we 

379
00:17:01,720 --> 00:17:03,280
just being able to talk out 
loud. 

380
00:17:03,280 --> 00:17:05,920
It's like sort of the director 
and the actor get to do together

381
00:17:05,920 --> 00:17:10,160
often and and it was important 
that I had someone to work with 

382
00:17:10,160 --> 00:17:12,400
in that way. 
And then like, honestly, with 

383
00:17:12,720 --> 00:17:17,839
Naomi, she's just so good. 
So it's like, yeah, she's she's 

384
00:17:18,200 --> 00:17:20,040
amazing. 
She can do anything. 

385
00:17:20,040 --> 00:17:23,400
And like when we met, there was 
just like chemistry. 

386
00:17:23,400 --> 00:17:26,400
And it was much more for me in 
that relationship in the film 

387
00:17:26,400 --> 00:17:33,440
about capturing the ease of that
then then any sort of like thing

388
00:17:33,440 --> 00:17:36,280
we had to hit because like the 
beginning of the film was simply

389
00:17:36,800 --> 00:17:39,520
trying to create an atmosphere 
of joy and like welcoming for my

390
00:17:39,520 --> 00:17:42,280
audience so that we feel held 
during like the harder parts. 

391
00:17:42,280 --> 00:17:49,840
But but but yeah, I I something 
I miss about like having gone to

392
00:17:49,840 --> 00:17:54,120
acting school and doing plays is
the lengthy rehearsal process. 

393
00:17:54,600 --> 00:17:59,000
Like that is act like that is 
the acting dream is to get time 

394
00:17:59,000 --> 00:18:02,720
and time and time to just talk 
through everything and and and 

395
00:18:02,720 --> 00:18:07,720
to get to do the play in one go.
You know, like that it so so how

396
00:18:07,720 --> 00:18:12,000
does it how how is it making 
film like do you like it? 

397
00:18:12,280 --> 00:18:13,480
I mean, I love it. 
Yeah. 

398
00:18:13,800 --> 00:18:15,680
Well, I think what you're 
talking about, that's something 

399
00:18:15,680 --> 00:18:18,360
that I feel like is a new way of
thinking about it because you're

400
00:18:18,360 --> 00:18:21,520
right. 
A play lives in is born, and it 

401
00:18:21,520 --> 00:18:24,280
dies in one night, in one 
performance. 

402
00:18:24,280 --> 00:18:26,520
And it was, again and again. 
But you do it every and over 

403
00:18:26,520 --> 00:18:27,360
again. 
Exactly. 

404
00:18:27,360 --> 00:18:29,320
And every night it's like it 
lives a little differently 

405
00:18:29,320 --> 00:18:31,440
because of the audience is 
different, the actor's mood is 

406
00:18:31,440 --> 00:18:33,400
different. 
But the thing about film like 

407
00:18:33,400 --> 00:18:36,320
this is kind of the way that I 
think about it, which is that 

408
00:18:37,600 --> 00:18:40,560
every day when you're doing a 
scene, part of it is that you're

409
00:18:40,560 --> 00:18:44,280
trying to part of putting it in 
the can and finishing that scene

410
00:18:44,480 --> 00:18:47,080
is to kill it, right? 
So as you're kind of like 

411
00:18:47,080 --> 00:18:49,640
carrying out like because we 
also shot on film. 

412
00:18:49,640 --> 00:18:52,240
So part of it is like we're 
literally carrying out cans of 

413
00:18:52,240 --> 00:18:53,920
film. 
And I would always say, well, 

414
00:18:53,920 --> 00:18:56,640
those are just little body parts
of this movie, right? 

415
00:18:57,160 --> 00:18:59,520
And some right. 
And some days you're making 

416
00:18:59,520 --> 00:19:02,120
little, you know, like little 
fingers. 

417
00:19:02,120 --> 00:19:04,280
Sometimes you're making a whole 
face, right? 

418
00:19:04,480 --> 00:19:06,720
And you're just, and you know, 
you're and I get eyes later, 

419
00:19:07,040 --> 00:19:08,640
right? 
Or sometimes you're being like, 

420
00:19:08,640 --> 00:19:11,200
we need a whole today's a day. 
We shoot the whole torso. 

421
00:19:11,360 --> 00:19:12,880
Yes, like this is a big torso 
day. 

422
00:19:12,880 --> 00:19:14,440
Exactly. 
And then you get all these 

423
00:19:14,440 --> 00:19:16,920
different party parts and it 
always, I would always laugh 

424
00:19:16,920 --> 00:19:19,640
because I would watch the cans 
of film that we shot carried out

425
00:19:19,640 --> 00:19:22,400
and I was like, well, there is a
little body part that we shot 

426
00:19:22,400 --> 00:19:24,360
today, right? 
And preserve. 

427
00:19:24,440 --> 00:19:25,400
That. 
Exactly. 

428
00:19:25,400 --> 00:19:29,320
And then in in post production, 
you basically get to bring all 

429
00:19:29,320 --> 00:19:31,760
the body parts in you source 
through it. 

430
00:19:32,160 --> 00:19:35,840
And then and then you start to 
sew it like it's kind of like 

431
00:19:35,840 --> 00:19:38,480
you're you're Frankenstein, Dr. 
Frankenstein and you're kind of 

432
00:19:38,480 --> 00:19:40,960
sewing together different party 
parts. 

433
00:19:41,240 --> 00:19:46,880
And the goal, at least for me, 
is to sew it so intricately and 

434
00:19:46,880 --> 00:19:54,680
so seamlessly that the audience 
thinks that the end product is, 

435
00:19:54,680 --> 00:19:57,880
which is something that we put 
together, sound, picture, 

436
00:19:57,880 --> 00:19:59,800
everything. 
This thing that so many, like 

437
00:19:59,800 --> 00:20:02,960
hundreds of people worked on to 
create perfect body parts and 

438
00:20:02,960 --> 00:20:08,000
then just sew it on the right 
way the whole time is scripted. 

439
00:20:08,720 --> 00:20:14,320
You're dreaming that this 
Frankenstein's monster is the 

440
00:20:14,320 --> 00:20:15,560
audience thinks that it has a 
mother. 

441
00:20:16,240 --> 00:20:18,520
Right, isn't like that. 
It was just born that way and 

442
00:20:18,520 --> 00:20:21,080
then no one made. 
It there's like effortlessness. 

443
00:20:21,080 --> 00:20:23,600
Effortless, so much so that you 
want the audience to fall in 

444
00:20:23,600 --> 00:20:25,320
love. 
It's just the beauty of this 

445
00:20:25,600 --> 00:20:27,760
human being. 
To not see the stitches to. 

446
00:20:27,800 --> 00:20:29,000
Not see the stitches. 
That's so. 

447
00:20:29,360 --> 00:20:30,720
Beautiful. 
And you know what's interesting 

448
00:20:30,720 --> 00:20:33,760
about that is like something 
that is crazy about the edit is 

449
00:20:33,760 --> 00:20:36,440
discovering like, OK, so this 
foot can be the most beautiful 

450
00:20:36,440 --> 00:20:37,840
foot you've ever seen it on its 
own. 

451
00:20:38,200 --> 00:20:40,240
Then the second it goes on the 
body, it's like the body's 

452
00:20:40,240 --> 00:20:41,560
rejecting the foot. 
Oh yeah. 

453
00:20:41,680 --> 00:20:43,160
Or like it's choosing ugly foot.
Yeah. 

454
00:20:43,320 --> 00:20:46,000
So the foot has been longer and 
weirder shaped, but only because

455
00:20:46,000 --> 00:20:50,160
this body requires that. 
Like that part is the fun crazy.

456
00:20:51,040 --> 00:20:53,600
And it's so crazy that you're 
trying to build the best body 

457
00:20:53,600 --> 00:20:55,520
part possible to withstand the 
future. 

458
00:20:55,520 --> 00:20:58,760
But like you're also kind of 
like, I don't know what's like, 

459
00:20:59,120 --> 00:21:03,080
I, I, I'm making really 
thoughtful guesses about what's 

460
00:21:03,080 --> 00:21:07,720
going to fit together. 
But like man, that body on the 

461
00:21:07,720 --> 00:21:10,400
other side takes a second. 
Well, but my thing is like, I 

462
00:21:10,400 --> 00:21:13,760
think on your second movie, and 
this is my experience that you 

463
00:21:13,760 --> 00:21:17,200
kind of get to realize that 
you're like, well, I just know 

464
00:21:17,200 --> 00:21:22,520
that I need to get these few 
different sizes for the body 

465
00:21:22,520 --> 00:21:26,240
parts because just in case like 
I'm like, Oh, it's so it's 

466
00:21:26,240 --> 00:21:28,280
because of course, when you're 
trying to especially when like 

467
00:21:28,280 --> 00:21:31,240
the set piece is beautiful and 
everything, you're looking for 

468
00:21:31,240 --> 00:21:35,160
the biggest, most spectacular 
body part and trying to get 

469
00:21:35,160 --> 00:21:37,160
that. 
But then you have to sort of 

470
00:21:37,160 --> 00:21:39,880
there's you kind of, I feel like
I feel you're already going to 

471
00:21:39,880 --> 00:21:41,440
know. 
They have the instinct being 

472
00:21:41,440 --> 00:21:42,680
like. 
Well in the edit. 

473
00:21:42,680 --> 00:21:45,080
I know that I might need a 
smaller version of. 

474
00:21:45,200 --> 00:21:46,560
That body part? 
Tiny finger. 

475
00:21:46,960 --> 00:21:50,840
Or I might be like, oh, to 
withstand that body part, I need

476
00:21:50,840 --> 00:21:54,240
bigger feet. 
So when we get to the feet part,

477
00:21:54,240 --> 00:21:55,560
then we'll be like, right, Like 
it's. 

478
00:21:55,560 --> 00:21:56,720
Kind of love this. 
Right. 

479
00:21:56,800 --> 00:21:57,800
I think it's a. 
It's a. 

480
00:21:57,800 --> 00:22:00,320
Beautiful image because it's 
true and I think it works in 

481
00:22:00,320 --> 00:22:01,680
like 100 ways. 
Yeah. 

482
00:22:01,720 --> 00:22:04,520
And, and The thing is like when 
you're shaving like because I 

483
00:22:04,520 --> 00:22:08,440
shave like whatever, 2 frames 
sometimes and you're like, well,

484
00:22:08,440 --> 00:22:10,760
you're doing that. 
So that like that little stitch 

485
00:22:10,760 --> 00:22:12,400
that's sticking out, you can't 
see. 

486
00:22:12,760 --> 00:22:15,240
Right, yes. 
I mean, that work is so 

487
00:22:15,240 --> 00:22:18,240
euphoric, a little stitch work 
because that's after you. 

488
00:22:19,400 --> 00:22:21,160
That is something that you it's 
like a reward. 

489
00:22:21,160 --> 00:22:24,680
And in writing too, like I feel 
like that's what I'm always 

490
00:22:24,840 --> 00:22:27,920
hoping for is that I get to the 
place with a project where I'm 

491
00:22:27,920 --> 00:22:30,120
like, I'm reading, I'm reading, 
I'm reading. 

492
00:22:30,680 --> 00:22:33,200
There's a stitch out of place 
and, and fixing the stitch like,

493
00:22:33,280 --> 00:22:36,000
but you only get there after, 
but you only get there after. 

494
00:22:36,840 --> 00:22:39,560
Oh my God, it's so long. 
But you don't also don't know 

495
00:22:39,560 --> 00:22:40,720
when it's going to happen, 
right? 

496
00:22:40,720 --> 00:22:43,040
Because sometimes it's happening
in the writing, sometimes it 

497
00:22:43,040 --> 00:22:46,160
happens in production. 
So you think sometimes. 

498
00:22:47,320 --> 00:22:49,440
So yeah. 
So tell me about how you write. 

499
00:22:49,440 --> 00:22:57,400
Like because do you ever go into
like how many stitches should 

500
00:22:57,400 --> 00:22:58,920
show? 
Like because I feel like in my 

501
00:22:58,920 --> 00:23:03,440
head, the idea is like in the 
writing, like the idea that you 

502
00:23:03,440 --> 00:23:08,480
try to make the body in the 
writing as seamless as possible 

503
00:23:08,560 --> 00:23:10,600
so that when you get to the next
thing and you chop up the body 

504
00:23:10,600 --> 00:23:12,160
again, you can put it back 
together and you don't see the 

505
00:23:12,160 --> 00:23:15,000
first it, you know, like but do 
you haven't like, is that how 

506
00:23:15,000 --> 00:23:17,720
you think about it? 
Or are you like I this is how 

507
00:23:17,720 --> 00:23:20,920
much I need to know to go into 
shooting this like for your 

508
00:23:20,920 --> 00:23:26,960
writing? 
Well, I feel like if you can cut

509
00:23:26,960 --> 00:23:30,040
something from your script 
before you go into production, 

510
00:23:30,400 --> 00:23:31,840
what I learned is that you 
should, right? 

511
00:23:32,520 --> 00:23:34,600
It's never going to show up and 
be necessary. 

512
00:23:34,720 --> 00:23:39,240
Because if you feel like you 
don't need it, the chances that 

513
00:23:39,240 --> 00:23:42,280
you don't, Right. 
But I think that that instinct, 

514
00:23:42,280 --> 00:23:46,280
it's sometimes I found it really
hard to navigate when I was 

515
00:23:46,280 --> 00:23:49,080
making my when I was making past
lives, the first movie, because 

516
00:23:49,440 --> 00:23:51,440
I would be like, I have an 
instinct. 

517
00:23:51,520 --> 00:23:53,320
Yeah. 
Like my instinct is that I don't

518
00:23:53,320 --> 00:23:55,840
need it. 
But then you're scared because 

519
00:23:55,840 --> 00:23:57,120
you don't know. 
Yeah. 

520
00:23:57,120 --> 00:23:59,000
So you're like, OK, well, we'll 
shoot it and then we put all 

521
00:23:59,000 --> 00:24:01,760
these resources into it and then
it ends up in the hitting room 

522
00:24:01,760 --> 00:24:03,120
floor. 
Right, Right. 

523
00:24:03,120 --> 00:24:06,360
And even in. 
But I feel like also, it also 

524
00:24:06,360 --> 00:24:08,240
has to do with how you want to 
do it. 

525
00:24:08,240 --> 00:24:13,880
Like my editor's experience for 
10 years has been with Terrence 

526
00:24:13,880 --> 00:24:17,120
Malick, right? 
Terrence I mean, so I know that 

527
00:24:17,120 --> 00:24:22,680
he works in a way where he's not
worried about how many extra 

528
00:24:22,680 --> 00:24:24,280
body parts he ends up with, 
right? 

529
00:24:24,360 --> 00:24:26,600
Right. 
So he so I think it depends on 

530
00:24:26,600 --> 00:24:28,240
the filmmaker. 
Like I feel like different film 

531
00:24:28,240 --> 00:24:29,480
makers probably do it 
differently. 

532
00:24:29,480 --> 00:24:31,480
Totally. 
Like but for materialists, I 

533
00:24:31,480 --> 00:24:33,880
feel like almost everything we 
shoot is in the movie. 

534
00:24:34,280 --> 00:24:38,200
Because you already edited like 
through and maybe you're someone

535
00:24:38,200 --> 00:24:41,080
who is like, I don't want extra 
body partners, I want more time 

536
00:24:41,080 --> 00:24:43,480
to make the body parts. 
Or something that to me, because

537
00:24:43,480 --> 00:24:46,200
it was like that way you can put
the resources into the 

538
00:24:46,520 --> 00:24:49,400
individual body part because 
you're kind of like, well, if it

539
00:24:49,400 --> 00:24:52,480
means that I can have, right? 
Like always a compromise. 

540
00:24:52,520 --> 00:24:55,280
It's like if I have to go quick 
on this, I want this. 

541
00:24:55,280 --> 00:24:57,200
Yeah, yeah. 
Well, what was the process for 

542
00:24:57,200 --> 00:24:58,880
you in writing? 
Sorry baby. 

543
00:24:58,880 --> 00:25:02,760
You know, I had it was I was 
making the things that he would 

544
00:25:02,760 --> 00:25:04,440
have told me I cut from the film
later. 

545
00:25:04,880 --> 00:25:08,040
You would have had to like 
actually like chain me up to get

546
00:25:08,040 --> 00:25:10,160
me to cut those. 
Those are the reasons I made 

547
00:25:10,160 --> 00:25:11,320
that. 
Like, there were scenes that 

548
00:25:11,840 --> 00:25:14,080
were the reasons I felt like the
film got made. 

549
00:25:14,160 --> 00:25:15,600
Yeah. 
Just these like, little, there 

550
00:25:15,600 --> 00:25:19,320
were little like interludes 
throughout the film that I felt 

551
00:25:19,320 --> 00:25:22,640
were so, like, important for for
relief. 

552
00:25:23,200 --> 00:25:28,560
And then something really clear 
happened in the edit where those

553
00:25:28,560 --> 00:25:32,840
scenes felt like just tension is
just diffused and like, it was 

554
00:25:32,840 --> 00:25:35,880
so slow. 
But like, and then the film just

555
00:25:35,880 --> 00:25:39,720
felt like they were like it was 
rejecting the scenes that I feel

556
00:25:39,720 --> 00:25:43,320
like the idea of them I loved, 
but and then the things that I 

557
00:25:43,320 --> 00:25:45,160
ended up keeping that felt so 
essential. 

558
00:25:45,600 --> 00:25:47,320
There were a couple moments on 
set where I was like, I don't, 

559
00:25:47,320 --> 00:25:51,640
this doesn't feel so right that 
like once they were in, I was 

560
00:25:51,640 --> 00:25:55,720
very like moved by how little I 
knew and how much guessing was 

561
00:25:55,720 --> 00:25:58,480
involved in in how the edit 
would happen. 

562
00:25:58,480 --> 00:26:03,800
And I am so curious like about I
don't, I don't feel like I'll 

563
00:26:03,800 --> 00:26:08,480
know exactly what I learned from
that until I try again because. 

564
00:26:09,160 --> 00:26:12,280
That's true. 
I don't know if I would. 

565
00:26:12,920 --> 00:26:16,320
I don't know if I have learned 
to actually cut that thing or if

566
00:26:16,920 --> 00:26:19,520
make shooting that is actually 
important for another reason I 

567
00:26:19,520 --> 00:26:21,680
don't understand. 
But you know what's crazy is 

568
00:26:21,680 --> 00:26:26,480
that like I'm like something 
crazy is that like every movie 

569
00:26:26,920 --> 00:26:30,000
is a new universe. 
So like sure, you can make a 

570
00:26:30,000 --> 00:26:33,560
film, but like I've never 
directed a film not in it. 

571
00:26:33,560 --> 00:26:38,160
So I only know about that flow 
and like, I've yes, I've 

572
00:26:38,160 --> 00:26:40,480
directed this film, but I've 
never directed one that looks 

573
00:26:40,480 --> 00:26:43,520
like this with this kind of 
world, you know, and and that 

574
00:26:43,520 --> 00:26:45,920
part's obviously the reason why 
it's amazing to get to make more

575
00:26:45,920 --> 00:26:48,680
than one movie and why we want 
to do that. 

576
00:26:48,680 --> 00:26:54,280
But also it's continually like 
terrifying because it's like 

577
00:26:54,280 --> 00:26:58,040
you're building, it's like 
building another body that is a 

578
00:26:58,480 --> 00:27:00,640
it's like an animal you've never
seen or something. 

579
00:27:00,640 --> 00:27:04,680
It's like but you don't know 
what it's supposed to look like 

580
00:27:04,720 --> 00:27:06,320
till it's. 
Well, the problem is that it's a

581
00:27:06,320 --> 00:27:09,640
process like life, right? 
As in, like, how amazing that 

582
00:27:09,640 --> 00:27:11,160
you're gonna get to do another 
one. 

583
00:27:11,440 --> 00:27:13,800
Plus a part of that is that 
you're also risking a lot, 

584
00:27:14,040 --> 00:27:16,000
right? 
But just like life, right? 

585
00:27:16,000 --> 00:27:18,960
So I do think that you're 
talking about like, yeah, I wish

586
00:27:19,000 --> 00:27:21,120
that we get to make our movies. 
It's out. 

587
00:27:21,120 --> 00:27:23,280
It's going great. 
Your film's going so great. 

588
00:27:23,680 --> 00:27:26,280
And then you wish that, you 
know, like, OK, well, that's it.

589
00:27:26,440 --> 00:27:28,320
That's the end of my life. 
Right, right. 

590
00:27:28,320 --> 00:27:29,600
Like this would be a great time 
to end. 

591
00:27:29,600 --> 00:27:32,240
Yeah, but The thing is like, the
movies are over. 

592
00:27:32,680 --> 00:27:35,280
A movie is out into the world. 
And in a way it's like, you're 

593
00:27:35,280 --> 00:27:36,800
right. 
It's not yours because you can't

594
00:27:37,120 --> 00:27:38,760
now. 
You can't go to the movie 

595
00:27:38,760 --> 00:27:41,480
theaters and like try to like 
fix it and do more time and 

596
00:27:41,480 --> 00:27:44,040
sound or something. 
You have to let it be right. 

597
00:27:44,040 --> 00:27:48,120
And it's like, so in a way, 
creatively, it's no longer a lie

598
00:27:48,120 --> 00:27:49,520
for you because you can't do 
anything. 

599
00:27:49,520 --> 00:27:54,000
For it huge grief, but. 
Something that I know really 

600
00:27:54,000 --> 00:27:57,160
alleviates that grief for me is 
to think about the next thing 

601
00:27:57,480 --> 00:27:58,920
right And then. 
The only. 

602
00:27:58,920 --> 00:28:00,640
Way. 
It's the only way I mean. 

603
00:28:00,640 --> 00:28:02,320
It's the only thing that you 
have, yeah. 

604
00:28:02,680 --> 00:28:03,840
Everything else is put on you 
like. 

605
00:28:03,840 --> 00:28:05,800
Everything else, everything 
you're doing so that you can 

606
00:28:05,800 --> 00:28:10,080
support the child you made that 
is now walking and living, and 

607
00:28:10,080 --> 00:28:12,320
it's going to meet their people 
on their own. 

608
00:28:12,320 --> 00:28:15,600
And you have to be there to 
support this kid, right? 

609
00:28:15,840 --> 00:28:18,640
Sent to college. 
And you know, bye like but like 

610
00:28:18,640 --> 00:28:21,200
miss you and I hope you, I hope 
you're. 

611
00:28:21,400 --> 00:28:24,840
OK, Yeah, I hope I like gave you
everything you needed, you know,

612
00:28:25,080 --> 00:28:27,080
but then you just have to let 
that kind of be. 

613
00:28:27,080 --> 00:28:30,680
And then what's what's amazing 
is that we just can continue 

614
00:28:31,320 --> 00:28:34,400
thinking about the next thing. 
So that's that's the only 

615
00:28:34,400 --> 00:28:35,520
relief. 
Oh, yeah. 

616
00:28:35,680 --> 00:28:39,480
Well, I, I what I was saying, 
what I was thinking was that you

617
00:28:39,480 --> 00:28:41,440
know how you were saying that 
you want to sleep first before 

618
00:28:41,440 --> 00:28:42,800
you're. 
I don't though. 

619
00:28:42,840 --> 00:28:44,680
I know I said that, but I kind 
of made that up. 

620
00:28:44,760 --> 00:28:47,360
Yeah, but I want to sleep up for
an hour and then make. 

621
00:28:47,400 --> 00:28:49,800
Yes, like about a couple of 
hours, you know, just feel like 

622
00:28:49,920 --> 00:28:52,800
2 hours that's enough. 
But, but for me, it's like, 

623
00:28:52,800 --> 00:28:57,360
well, I, I was so lucky to 
support my movie through all the

624
00:28:57,360 --> 00:29:00,080
award stuff. 
So what happened was that after 

625
00:29:00,080 --> 00:29:03,040
the So I went to the Oscars, 
which was so cool. 

626
00:29:03,040 --> 00:29:04,840
Damn it. 
Was it was real damn. 

627
00:29:04,840 --> 00:29:06,600
Like it was really cool. 
It was so. 

628
00:29:06,880 --> 00:29:10,160
And then after I went to that, 
the next day I flew back to New 

629
00:29:10,160 --> 00:29:13,080
York. 
The day after that I was on a 

630
00:29:13,080 --> 00:29:15,680
scout van to make materials. 
No, you weren't. 

631
00:29:15,680 --> 00:29:17,720
Yes, I was. 
And so you knew that whole time 

632
00:29:17,720 --> 00:29:18,960
you were going to that scout 
van. 

633
00:29:19,160 --> 00:29:21,160
Whole I was, I knew it. 
Must have been so good for your 

634
00:29:21,160 --> 00:29:23,760
like it was. 
So fun, like I feel like because

635
00:29:23,760 --> 00:29:27,760
of course, you know, like past 
lives, it's kind of a long 

636
00:29:27,760 --> 00:29:30,120
grieving process of like, well, 
that movie is what it is. 

637
00:29:30,120 --> 00:29:31,760
And then. 
But of course that's something 

638
00:29:31,760 --> 00:29:35,320
to remember for us, I think in 
general is that yeah, so it 

639
00:29:35,320 --> 00:29:39,640
might be over for us when it 
comes to that particular movie. 

640
00:29:39,640 --> 00:29:42,720
Maybe it's dead to us, but it's 
alive in the audience, right, 

641
00:29:42,960 --> 00:29:44,480
right. 
The offer audience, every 

642
00:29:44,480 --> 00:29:47,200
audience, new member, every new 
member of the audience who sees 

643
00:29:47,200 --> 00:29:50,360
the movie, it's it's comes back 
to life. 

644
00:29:50,360 --> 00:29:52,640
Right, it's a baby again for. 
Yeah, and then for and then I 

645
00:29:52,640 --> 00:29:56,520
think it's amazing because then 
we get to live vicariously 

646
00:29:56,520 --> 00:29:58,160
through the way that the 
audience sees it. 

647
00:29:58,160 --> 00:30:01,760
So if they're like, oh, I really
it meant something to me, then I

648
00:30:01,760 --> 00:30:04,840
feel I always feel like I'm 
alive again in it, right. 

649
00:30:05,240 --> 00:30:08,120
So that I really love. 
But but then you know what I 

650
00:30:08,560 --> 00:30:11,080
what I think the favorite, the 
best part is like, yeah, you're 

651
00:30:11,080 --> 00:30:14,120
right. 
Those, you know, 12 hours, 1214 

652
00:30:14,120 --> 00:30:17,040
hours every day, we're like, 
they're like 600 people who's 

653
00:30:17,040 --> 00:30:20,800
working on the movie, right? 
We're like in the office on set.

654
00:30:20,800 --> 00:30:23,560
And then we're all just like, 
hustling together. 

655
00:30:23,560 --> 00:30:25,320
Yeah. 
And it's like, you can't, you 

656
00:30:25,320 --> 00:30:27,160
can't. 
You have. 

657
00:30:27,240 --> 00:30:28,960
It just requires presents. 
Yeah. 

658
00:30:29,120 --> 00:30:35,200
And so you and I think so much 
of this part of like putting out

659
00:30:35,200 --> 00:30:42,240
the film is so about like, like 
you like me or whatever. 

660
00:30:42,240 --> 00:30:46,360
And actually the thing I 
remember feeling relieved by was

661
00:30:46,960 --> 00:30:49,320
people feeling connected to the 
script and the film we were 

662
00:30:49,320 --> 00:30:51,720
making. 
Because it really does making 

663
00:30:51,720 --> 00:30:54,680
the film actually does take the 
attention off of like how you 

664
00:30:54,680 --> 00:30:58,240
are and puts it on clarity of 
the story you're trying to tell.

665
00:30:58,240 --> 00:31:00,520
And that shift of like, it's not
about me. 

666
00:31:00,520 --> 00:31:02,440
It's about this thing. 
And it stands over here and 

667
00:31:02,440 --> 00:31:07,120
we're all looking at that, that 
I find to be really helpful. 

668
00:31:07,320 --> 00:31:10,720
And the thing I'm also missing 
is like, we're all looking at 

669
00:31:10,800 --> 00:31:13,880
the thing, not at me, you know, 
like that. 

670
00:31:14,480 --> 00:31:18,800
And, and that is helpful. 
And there's work like you just 

671
00:31:18,800 --> 00:31:21,920
have to, and there's stuff to do
when you're making a movie that 

672
00:31:21,920 --> 00:31:24,560
is, it's good to stay busy with 
the stuff you're doing because 

673
00:31:24,560 --> 00:31:27,520
it keeps you on track with what 
your, your point, the point of 

674
00:31:27,520 --> 00:31:29,920
your life is, you know? 
Well, you don't think that 

675
00:31:29,920 --> 00:31:33,120
they're all looking at you 
because I feel like I mean for 

676
00:31:33,120 --> 00:31:38,880
me, I feel like being a director
always is that you are the my 

677
00:31:38,880 --> 00:31:45,160
joke is that I'm the mother, 
sister, daughter, right to every

678
00:31:45,160 --> 00:31:48,560
single person who's working on 
the movie right, Like I'm I'm 

679
00:31:48,560 --> 00:31:51,600
like in charge and taking care 
of you as like in the mother 

680
00:31:51,600 --> 00:31:53,520
way. 
Yes, I'm also your sister and 

681
00:31:53,520 --> 00:31:56,880
that I'm your equal and you were
gonna talk it out. 

682
00:31:57,280 --> 00:31:59,080
We're going to Yeah, and we're 
going to be confidant. 

683
00:31:59,080 --> 00:32:00,160
So we're going to figure that 
out. 

684
00:32:00,400 --> 00:32:03,560
And then I'm also someone to be 
protected for my vision 

685
00:32:03,560 --> 00:32:06,880
everything like a daughter and 
then like and also what I want, 

686
00:32:07,120 --> 00:32:09,600
if I trust to get me right get 
to happen. 

687
00:32:09,800 --> 00:32:13,520
So I feel like it's this kind of
like you kind of get to be all 

688
00:32:13,640 --> 00:32:18,680
you are the center of the, the 
what is it the kind of like 

689
00:32:19,000 --> 00:32:24,320
this, this thing that is being 
that we're all doing together, 

690
00:32:24,600 --> 00:32:26,320
right? 
So everybody's looking at you 

691
00:32:26,640 --> 00:32:29,880
because I feel like I answer 
1000 questions a day. 

692
00:32:29,920 --> 00:32:32,240
Right, but they're looking at 
you in relationship to the piece

693
00:32:32,240 --> 00:32:34,720
yes, of course not like just you
for the sake of you. 

694
00:32:35,360 --> 00:32:37,760
No, you know, like there is 
something different about 

695
00:32:37,760 --> 00:32:41,280
there's like a purpose to you're
like the mother of the of the 

696
00:32:41,280 --> 00:32:42,480
thing of people. 
No. 

697
00:32:42,480 --> 00:32:46,520
But, but I think that's true. 
But I feel like how you are as a

698
00:32:46,520 --> 00:32:50,920
person will define how we're 
making the movie. 

699
00:32:50,920 --> 00:32:51,960
Oh well, that's totally. 
True. 

700
00:32:51,960 --> 00:32:53,960
That's true. 
So in that way, it's like, well,

701
00:32:54,200 --> 00:32:57,680
I think about that so much. 
I feel like how I respond or how

702
00:32:57,680 --> 00:33:00,800
I behave, it's going to 
reverberate throughout the whole

703
00:33:00,800 --> 00:33:01,360
set. 
Right. 

704
00:33:01,360 --> 00:33:03,760
There's like cells in it and the
cells are in the film. 

705
00:33:03,760 --> 00:33:05,600
Like it's totally intense. 
It is intense. 

706
00:33:05,600 --> 00:33:11,280
So in that way, I feel like 
you're right, my goal, right, my

707
00:33:11,280 --> 00:33:13,760
goal is for it to be all about 
the movie. 

708
00:33:14,200 --> 00:33:18,080
But as the person who is holding
the movie in my mind and who 

709
00:33:18,080 --> 00:33:24,440
does know everybody from, you 
know, the highest, highest paid 

710
00:33:24,440 --> 00:33:27,600
person on set to the lowest 
person on set, I know everybody,

711
00:33:27,640 --> 00:33:30,080
right? 
In that way, I just feel like 

712
00:33:30,080 --> 00:33:37,480
I'm responsible for everyone's 
like everyone's work, like I'm 

713
00:33:37,520 --> 00:33:40,080
responsible for everyone's. 
I couldn't say. 

714
00:33:40,400 --> 00:33:42,480
And I'm also like, we could 
think about this, which is that 

715
00:33:43,600 --> 00:33:49,400
for like 12 to 14 hours a day, 
these grown adults, these grown 

716
00:33:49,560 --> 00:33:55,080
union like adults are giving, 
like giving their life for 

717
00:33:55,080 --> 00:34:01,280
giving their lives for 12 to 14 
hours in pursuit of this thing 

718
00:34:01,280 --> 00:34:06,440
that isn't me yet. 
And is I really have a genuine 

719
00:34:07,200 --> 00:34:09,600
question about how tangible it 
is. 

720
00:34:09,960 --> 00:34:12,080
Yeah, I think about because of 
course in the it's in the hard 

721
00:34:12,080 --> 00:34:15,199
drive or it's in a, you know, 
can like their tangibility to 

722
00:34:15,440 --> 00:34:17,800
the movie. 
But it's also in the air like. 

723
00:34:18,000 --> 00:34:20,239
Yeah, it's about the living 
through it, like the audience is

724
00:34:20,239 --> 00:34:23,600
experiencing it and that's the 
only, that's the final product. 

725
00:34:23,760 --> 00:34:25,639
Yes, it's the experience of it. 
No, you're experience. 

726
00:34:25,639 --> 00:34:28,239
It's like it's not the DVD, it's
the time you spend watching the 

727
00:34:28,239 --> 00:34:30,480
film. 
And that either that either 

728
00:34:30,560 --> 00:34:34,320
like, yeah, it lodges itself 
into someone or it moves through

729
00:34:34,320 --> 00:34:37,560
them, but either way, it's about
that person's relationship to 

730
00:34:37,560 --> 00:34:41,120
what they're experiencing. 
And that is that you cannot 

731
00:34:41,120 --> 00:34:43,760
hold. 
No, I mean, you're asking also 

732
00:34:43,760 --> 00:34:46,040
the audience to give two hours 
of their lives. 

733
00:34:46,040 --> 00:34:50,280
I mean, that to me is the thing 
that is the thing of like the 

734
00:34:50,480 --> 00:34:54,480
the honor. 
Yeah, I feel, yes, honor that 

735
00:34:54,480 --> 00:34:56,520
someone spent two hours of their
lives. 

736
00:34:56,520 --> 00:34:59,640
Yeah. 
And also they got there and they

737
00:34:59,800 --> 00:35:01,760
they're leaving. 
They're going back like that. 

738
00:35:01,840 --> 00:35:04,800
Sometimes they get babysitters. 
And I'm like, no, you got a 

739
00:35:04,800 --> 00:35:07,520
babysitter and they buy candy 
and it's like because they want 

740
00:35:07,520 --> 00:35:10,040
to eat candy while watching the 
movie, because they want to 

741
00:35:10,320 --> 00:35:13,080
escape and they want to feel 
like it's sensory and they want 

742
00:35:13,080 --> 00:35:15,480
to like, no. 
And that's what we do. 

743
00:35:15,480 --> 00:35:20,360
Like that's why I feel like 
that's why movies took my heart 

744
00:35:20,360 --> 00:35:24,720
is because it's like I got to 
give two hours and get a life 

745
00:35:24,720 --> 00:35:27,360
back too in a way. 
Like there's but it's also a 

746
00:35:27,360 --> 00:35:30,920
risk because it's like you spend
sometimes you spend 2 hours and 

747
00:35:31,560 --> 00:35:33,600
it it wasn't it. 
Was a waste of your. 

748
00:35:33,720 --> 00:35:37,560
Time yeah, but it's also like, 
but there's also something about

749
00:35:37,560 --> 00:35:41,640
like I tried like I, I was 
interested in engaging with that

750
00:35:41,640 --> 00:35:44,360
and for some reason it didn't 
move me the way I wanted it to 

751
00:35:44,360 --> 00:35:47,560
but like I'm gonna go back like 
people go back because they're 

752
00:35:47,560 --> 00:35:50,360
like I'm gonna and that's why 
there's so many movies yeah, 

753
00:35:50,600 --> 00:35:52,560
it's because like. 
And that's the that's the 

754
00:35:52,560 --> 00:35:54,600
coolest is that there's not one 
movie. 

755
00:35:54,600 --> 00:35:57,400
It's like you find what moves 
you. 

756
00:35:57,400 --> 00:35:59,120
Oh, yeah. 
But you have to give it enough 

757
00:35:59,120 --> 00:36:00,680
time to like, find what moves 
you. 

758
00:36:00,680 --> 00:36:01,880
Oh. 
Yeah. 

759
00:36:01,880 --> 00:36:05,120
And also like, yeah, it's a it's
a question when you walk into a 

760
00:36:05,120 --> 00:36:06,880
thing. 
And I feel like in a world where

761
00:36:06,880 --> 00:36:10,600
where everybody's trying to be 
risk averse, it is really hard 

762
00:36:10,600 --> 00:36:13,360
to be like, hey, take a risk on 
this thing, right. 

763
00:36:13,360 --> 00:36:16,520
It's original story, right? 
Yeah. 

764
00:36:16,520 --> 00:36:19,440
It's from this person that you 
may have heard of, Maybe you 

765
00:36:19,440 --> 00:36:20,120
haven't. 
Yeah. 

766
00:36:20,480 --> 00:36:24,760
And I think you'll be great. 
It could be right, Right. 

767
00:36:24,800 --> 00:36:27,320
So it's such a wild thing to 
promise. 

768
00:36:27,640 --> 00:36:30,760
And then of course, as everybody
becoming like, well, my time is 

769
00:36:30,760 --> 00:36:33,040
worth this. 
And there's a lot of risk averse

770
00:36:34,960 --> 00:36:36,040
culture. 
Yeah, right. 

771
00:36:36,240 --> 00:36:38,600
It's kind of hard to be 
increasingly or it's always hard

772
00:36:38,600 --> 00:36:43,000
to be like, hey, like take a 
risk on, you know, giving us 

773
00:36:43,000 --> 00:36:44,600
like 2 hours of your life. 
Right. 

774
00:36:44,600 --> 00:36:46,400
It's a huge ask. 
It's a big ask. 

775
00:36:46,400 --> 00:36:49,560
But my thing is like, if you 
were able to think about their 

776
00:36:49,560 --> 00:36:52,840
responsibility, and I mean, use 
the word honor, right? 

777
00:36:52,840 --> 00:36:55,960
It's like some of it is about 
like really seeing it as like, 

778
00:36:56,120 --> 00:37:00,600
well, it is an honor to have it,
so I'm not going to disrespect 

779
00:37:00,600 --> 00:37:01,200
it. 
Yeah. 

780
00:37:01,360 --> 00:37:03,480
Right. 
And then, and it may be that 

781
00:37:03,480 --> 00:37:08,200
like I know that at the end of 
the day, all I'm doing is that 

782
00:37:08,200 --> 00:37:10,680
I'm risking as much as you. 
Yeah, right. 

783
00:37:10,760 --> 00:37:13,760
I mean, yes. 
And I'm giving you everything I 

784
00:37:13,760 --> 00:37:15,920
have. 
And that's doing the stitches, 

785
00:37:16,040 --> 00:37:17,200
Yes. 
And making the stitches. 

786
00:37:17,200 --> 00:37:19,680
It's like I'm giving you every, 
every. 

787
00:37:19,680 --> 00:37:21,520
I'm caring. 
I care so much. 

788
00:37:21,640 --> 00:37:26,720
Well, I'm giving you, I'm giving
you, you know, like what a final

789
00:37:26,720 --> 00:37:30,160
mixes are 12 hours days and I'm 
there the whole time. 

790
00:37:30,160 --> 00:37:33,320
And then of course my sound 
designers are there 12 to 14 

791
00:37:33,320 --> 00:37:35,000
hours a day. 
And my thing is like, well, 

792
00:37:35,720 --> 00:37:38,360
these are people who have 
devoted their lives to sound 

793
00:37:38,360 --> 00:37:42,240
design, for example, right? 
Well, like my DP is somebody who

794
00:37:42,240 --> 00:37:44,480
devoted his life to image 
making. 

795
00:37:44,880 --> 00:37:48,200
You're going to see these 
incredible grown up 

796
00:37:48,440 --> 00:37:53,000
professionals give everything 
they know, giving all of 

797
00:37:53,000 --> 00:37:56,520
themselves to the art of this 
thing. 

798
00:37:56,920 --> 00:37:59,160
And my thing is like, well, 
that's the, that's what we're 

799
00:37:59,160 --> 00:38:02,480
actually able to offer. 
Because if you show up for two 

800
00:38:02,480 --> 00:38:05,000
hours, you get to see. 
All of. 

801
00:38:05,240 --> 00:38:07,160
Us do our yeah. 
Craftsmanship. 

802
00:38:07,520 --> 00:38:10,200
I've been a writer for like 20 
years, you know, like we're all 

803
00:38:10,200 --> 00:38:15,360
showing up basically being like 
doing, giving you like, not just

804
00:38:15,480 --> 00:38:18,800
like little bit of image, little
bit of sound, little bit of 

805
00:38:18,800 --> 00:38:21,080
writing. 
We're showing up to give you our

806
00:38:21,080 --> 00:38:22,640
whole life, right? 
Yeah. 

807
00:38:22,640 --> 00:38:29,400
Because my my script or my DPS 
images, it's not coming from 

808
00:38:29,400 --> 00:38:34,320
like ether you didn't just like 
plug it into you plug into AI 

809
00:38:34,320 --> 00:38:36,040
and then, you know, pop it out. 
What happened? 

810
00:38:36,040 --> 00:38:38,760
Was that you? 
You build it from the ground 

811
00:38:39,160 --> 00:38:41,960
like. 
We worked, we failed, we worked 

812
00:38:41,960 --> 00:38:43,880
again and then right I. 
Missed that part. 

813
00:38:43,880 --> 00:38:45,160
No, it is really good. 
You're going to get there. 

814
00:38:45,160 --> 00:38:46,800
You're going to do it soon, you 
know. 

815
00:38:46,960 --> 00:38:49,600
What I mean, you're going to be.
On set like 2 seconds. 

816
00:38:49,800 --> 00:38:54,440
You know, it's just, it's I 
totally, it's like I actually 

817
00:38:54,440 --> 00:38:58,600
can't believe it's real. 
What just being able to do this.

818
00:38:58,600 --> 00:39:01,160
I know it's crazy. 
It's. 

819
00:39:01,280 --> 00:39:02,600
Really cool. 
It's really cool. 

820
00:39:03,280 --> 00:39:05,320
And there's so many parts of it.
And every time you do a new 

821
00:39:05,320 --> 00:39:06,840
part, you're like, what are you 
talking about? 

822
00:39:06,840 --> 00:39:10,360
That's part of this job. 
Like it's such a special job. 

823
00:39:10,360 --> 00:39:12,840
Oh yeah, it's such and it's 
true. 

824
00:39:12,840 --> 00:39:13,720
Like. 
Really lucky, yeah. 

825
00:39:14,000 --> 00:39:17,400
It's a really crazy thing to 
have people what you're saying 

826
00:39:17,400 --> 00:39:21,880
about like they're giving their 
days of their lives to create 

827
00:39:21,880 --> 00:39:26,560
this with you and, and it's 
supreme focus and it's everyone 

828
00:39:27,000 --> 00:39:33,160
doing the best that they can. 
And that is, it is like so life 

829
00:39:33,160 --> 00:39:38,520
affirming to be in a space where
everyone's doing that. 

830
00:39:38,600 --> 00:39:41,680
Yeah, it's very rare, of course.
And everyone who's there 

831
00:39:41,680 --> 00:39:44,600
understands why you're there. 
So there's no explaining like 

832
00:39:44,600 --> 00:39:46,680
what we're doing. 
I mean, talk about being seen. 

833
00:39:46,680 --> 00:39:48,640
Yes. 
Yes, I feel the most seen when 

834
00:39:48,640 --> 00:39:51,040
I'm on my set. 
That's where I feel the most 

835
00:39:51,040 --> 00:39:54,120
seen outside of like my home. 
Yes. 

836
00:39:54,120 --> 00:39:56,760
You know, I feel like that's the
place where I feel like, oh, I 

837
00:39:56,760 --> 00:40:00,840
know everybody sees me because I
feel like it's also where I feel

838
00:40:00,840 --> 00:40:03,760
like very, very, very human. 
Yeah. 

839
00:40:03,840 --> 00:40:07,200
You know, because like, I don't 
know if some of it is about 

840
00:40:07,200 --> 00:40:11,120
like, it's just the energy of it
or it's just the passion of it 

841
00:40:11,120 --> 00:40:13,360
that we're all like, yeah, we're
not showing up to. 

842
00:40:14,040 --> 00:40:16,720
We're not here to fuck around. 
No, we're doing this. 

843
00:40:16,720 --> 00:40:19,200
Yeah, you know, and. 
Once you're in, you're like once

844
00:40:19,200 --> 00:40:22,120
the timeline starts, yeah, that 
should just fucking go I. 

845
00:40:22,120 --> 00:40:24,760
Know and it's so cool and I 
think it's like and also you get

846
00:40:24,760 --> 00:40:28,160
exactly how much you care out of
it right I think about that in 

847
00:40:28,160 --> 00:40:31,600
terms of like how much like care
is involved and I'm always like 

848
00:40:31,960 --> 00:40:35,520
well if you don't care then 
you'll get less out of it yeah 

849
00:40:35,520 --> 00:40:38,600
and then if you care a lot you 
don't get a lot out of it yes 

850
00:40:38,600 --> 00:40:40,720
right this is a person. 
Yes. 

851
00:40:40,720 --> 00:40:42,720
No, no, totally. 
Yeah. 

852
00:40:43,640 --> 00:40:45,960
This is so nice talking to you. 
It's so nice talking to you. 

853
00:40:46,160 --> 00:40:47,360
Seriously. 
Seriously. 

854
00:40:48,000 --> 00:40:52,360
Can't believe it? 
So I feel like something I 

855
00:40:52,520 --> 00:40:55,920
genuinely, I'm like, well, were 
you able to direct yourself in 

856
00:40:55,920 --> 00:40:59,280
your like or did you kind of 
like go in like how many ticks 

857
00:40:59,280 --> 00:41:02,520
would you do? 
Yeah, it would be like, it would

858
00:41:02,560 --> 00:41:04,920
be like, well, the first few 
days we scheduled lighter 

859
00:41:04,920 --> 00:41:08,560
because I we had to figure out 
the flow. 

860
00:41:08,560 --> 00:41:12,240
I'd never done it and I think we
usually the flow would be I had 

861
00:41:12,240 --> 00:41:13,680
to stand in, which is so 
helpful. 

862
00:41:13,880 --> 00:41:17,760
So I'd set up the shot with the 
stand in and then I would do it 

863
00:41:17,760 --> 00:41:19,640
and then watch that. 
And I would only really watch 

864
00:41:19,640 --> 00:41:22,480
that for shape, like is this how
the shots meant to move? 

865
00:41:22,480 --> 00:41:26,200
Is is there anything in this 
that doesn't feel like what I'm 

866
00:41:26,360 --> 00:41:29,440
what I want? 
Then once I we felt what the 

867
00:41:29,440 --> 00:41:32,640
shot was figured out and, and 
any adjustments have been made, 

868
00:41:32,880 --> 00:41:36,480
I would do a probably a run of 
it until I felt like it was what

869
00:41:36,480 --> 00:41:39,240
I wanted. 
And, and, and then I would 

870
00:41:39,240 --> 00:41:41,960
usually watch what I liked but 
without sound. 

871
00:41:41,960 --> 00:41:45,200
And it was mostly just like is 
the vibe of is it there? 

872
00:41:45,480 --> 00:41:48,720
And because I feel like I knew 
what happened emotionally or I 

873
00:41:48,720 --> 00:41:51,640
knew what I just knew what 
happened, but I just wanted to 

874
00:41:51,640 --> 00:41:56,240
make sure I saw it through. 
But I just, I didn't usually 

875
00:41:56,240 --> 00:41:58,800
watch the sound because I was 
like, and sometimes stuff was 

876
00:41:58,800 --> 00:42:00,680
heavy and I was like, it's 
easier for me as a director to 

877
00:42:00,680 --> 00:42:06,840
just see shape and then I would,
I would know pretty soon I 

878
00:42:06,840 --> 00:42:08,160
would. 
The thing that was efficient was

879
00:42:08,160 --> 00:42:10,680
I noted myself. 
So there was no sort of like 

880
00:42:11,000 --> 00:42:13,760
having to figure out our flow 
like it was. 

881
00:42:13,760 --> 00:42:18,200
I knew the adjustments I wanted 
to make performance wise pretty 

882
00:42:18,200 --> 00:42:20,280
quickly. 
And it was, you know, really 

883
00:42:20,280 --> 00:42:25,680
nice to be sort of working with 
actors from an act in scenes as 

884
00:42:25,680 --> 00:42:28,960
a director, because there's sort
of this like inherent trust 

885
00:42:28,960 --> 00:42:30,960
because like I'm in the trenches
too. 

886
00:42:30,960 --> 00:42:32,520
Like we're both being really 
vulnerable. 

887
00:42:32,520 --> 00:42:35,760
And there were a couple scenes 
in the film where I directed to 

888
00:42:35,760 --> 00:42:39,720
people who and I wasn't in the 
scene and I was, it was like a 

889
00:42:39,720 --> 00:42:44,520
totally different experience of 
like, I want you to know I I'm 

890
00:42:44,520 --> 00:42:46,440
with you. 
Like it's like, but you're 

891
00:42:46,440 --> 00:42:47,840
vulnerable. 
You're the ones in front of the 

892
00:42:47,840 --> 00:42:50,120
camera and like, I want you to 
trust that. 

893
00:42:50,120 --> 00:42:52,680
I see that. 
That's insane. 

894
00:42:52,680 --> 00:42:59,480
And like, and sometimes I would 
be like, oh, I like I've it 

895
00:42:59,480 --> 00:43:02,000
would be like a learning curve 
of trying to figure out how to 

896
00:43:02,000 --> 00:43:05,840
get in there and how to have 
find language for those people. 

897
00:43:06,280 --> 00:43:09,040
But. 
Yes, I feel like the reason why 

898
00:43:09,040 --> 00:43:12,640
I was asking is because I feel 
like such a big part of my 

899
00:43:12,640 --> 00:43:16,920
relationship to my actors is my 
objectivity, right? 

900
00:43:16,920 --> 00:43:20,040
Because they have to so fully 
embody the subjectivity of the 

901
00:43:20,040 --> 00:43:23,960
characters that they're not. 
I don't, I never want to ask my 

902
00:43:24,160 --> 00:43:26,680
actors to also be in charge of 
the objectivity. 

903
00:43:26,720 --> 00:43:28,520
Yes. 
And of course, like I am working

904
00:43:28,520 --> 00:43:33,840
with like 3, like just insanely 
professional, like excellent, 

905
00:43:33,880 --> 00:43:37,520
like lifelong actors because 
like all three of them, like 

906
00:43:37,520 --> 00:43:40,000
Dakota, Chris and Pedro, like 
all of them just have such 

907
00:43:40,000 --> 00:43:43,360
experience like, like just 
working, right? 

908
00:43:43,360 --> 00:43:46,320
So the part of the thing that I 
really found is that like, and I

909
00:43:46,320 --> 00:43:48,600
think this is something that I 
found in any actor who has 

910
00:43:48,840 --> 00:43:54,520
really long experience working 
is that they have a way to see 

911
00:43:54,520 --> 00:43:56,960
their performance a little bit 
objectively because part is 

912
00:43:56,960 --> 00:44:00,000
protectiveness, right? 
And then of course, after you 

913
00:44:00,000 --> 00:44:03,360
build a certain amount of trust 
and they're they never able to. 

914
00:44:05,040 --> 00:44:07,600
Release that and let. 
Go and then just let it be a 

915
00:44:07,600 --> 00:44:10,720
subjective work. 
And I think that to me, getting 

916
00:44:10,720 --> 00:44:13,680
to that place is something that 
I'm working on and usually the 

917
00:44:13,680 --> 00:44:15,440
first week. 
Right, Yes. 

918
00:44:15,480 --> 00:44:17,520
And is it with each person a 
different way to both? 

919
00:44:17,520 --> 00:44:19,280
Of course, Yes, yes, of. 
Course, because if it was a 

920
00:44:19,280 --> 00:44:21,680
different person, so you have a 
different relationship with each

921
00:44:21,680 --> 00:44:22,560
person. 
Yes. 

922
00:44:22,840 --> 00:44:24,680
And I think that it's like and I
think. 

923
00:44:24,680 --> 00:44:26,880
Mother, sister, daughter. 
Mother, sister, daughter, right.

924
00:44:26,880 --> 00:44:31,760
It's like you kind of have to 
approach the every relationship 

925
00:44:31,760 --> 00:44:34,560
and also every scene differently
because it's also like some 

926
00:44:34,560 --> 00:44:38,080
scenes are bigger scenes for one
character, yes. 

927
00:44:38,080 --> 00:44:41,320
Or even like within the scene, 
the whole I'm like, well, first 

928
00:44:41,320 --> 00:44:44,560
part of the scene is all about 
Dakota's character Lucy, you 

929
00:44:44,560 --> 00:44:47,080
know, Second part of the scene 
is all about Pedro's character, 

930
00:44:47,080 --> 00:44:49,640
Harry. 
So we're kind of always dealing 

931
00:44:49,640 --> 00:44:55,480
with like, you know, it's a bit 
of a sparring of like it's a 

932
00:44:55,480 --> 00:44:57,200
movie where it's a sparring of 
ideas. 

933
00:44:57,200 --> 00:45:00,720
So, so much of it has to do with
like each person really 

934
00:45:00,720 --> 00:45:04,160
committing to the subjectivity. 
So I have to then be able to 

935
00:45:04,160 --> 00:45:07,520
tell them that I'm in charge of 
the objective. 

936
00:45:07,840 --> 00:45:10,640
As in, like, I'm the person who 
tells them how it reads. 

937
00:45:10,640 --> 00:45:12,560
Yes, right. 
So it's like I can take that 

938
00:45:12,560 --> 00:45:14,400
burden off of you and tell you I
have, I have. 

939
00:45:14,480 --> 00:45:16,480
I feel like that's always the 
offer. 

940
00:45:16,600 --> 00:45:21,560
And I think that usually the 
first week is an opportunity for

941
00:45:21,560 --> 00:45:24,680
all of us to build that trust. 
Yeah, right. 

942
00:45:24,680 --> 00:45:28,520
So that we can all walk away 
from it feeling like it's really

943
00:45:28,520 --> 00:45:30,440
awesome. 
And also, I mean, the way that 

944
00:45:30,440 --> 00:45:34,640
all three of them are like, like
for example, when I'm noting, 

945
00:45:34,640 --> 00:45:36,960
the reason why I was asking 
about noting is that it's like 

946
00:45:37,760 --> 00:45:40,760
the rhythm of noting is 
different for each actor. 

947
00:45:41,120 --> 00:45:45,960
So I was just thinking like how 
those one note oneself because 

948
00:45:45,960 --> 00:45:49,120
like, well, the problem with 
like, because I'm a very bad 

949
00:45:49,120 --> 00:45:50,560
actor. 
Are you I'm? 

950
00:45:50,960 --> 00:45:52,200
Really bad? 
Really. 

951
00:45:52,240 --> 00:45:54,920
When have you done it? 
I've not really done it. 

952
00:45:55,160 --> 00:45:57,400
I was in the. 
Short I'm I'm in general bad, 

953
00:45:57,400 --> 00:46:01,520
but I was in a play once and I 
did a short film once. 

954
00:46:01,520 --> 00:46:05,000
OK. 
And the problem with me in that 

955
00:46:05,000 --> 00:46:10,160
situation is that I will do a 
piece of performance and then in

956
00:46:10,160 --> 00:46:12,920
the middle of a performance, 
I'll be noting it, right. 

957
00:46:13,240 --> 00:46:16,240
But then that is really 
connected to the way that I note

958
00:46:16,440 --> 00:46:20,400
as a director, because I'm 
usually writing something down 

959
00:46:20,400 --> 00:46:24,000
about what I want to note. 
Look, while it's happening. 

960
00:46:24,280 --> 00:46:26,000
Like I'll hear something, I'm 
like, oh, I know. 

961
00:46:26,320 --> 00:46:29,040
And then it's also, so I mean, 
that part's so fun because I 

962
00:46:29,040 --> 00:46:32,080
also know why it's not, it's the
right thing. 

963
00:46:32,240 --> 00:46:33,760
It's almost just. 
Is you're not as an. 

964
00:46:33,840 --> 00:46:36,440
It's like you answering the 
thing you had a question about. 

965
00:46:36,640 --> 00:46:40,840
Like, and I get to learn about 
myself and I get to learn about 

966
00:46:40,840 --> 00:46:43,080
them. 
So it's a, it's a very, I think 

967
00:46:43,080 --> 00:46:46,520
noting is romantic. 
Yeah, it's a romantic 

968
00:46:46,520 --> 00:46:49,520
relationship, right? 
Because, yeah, some of it is 

969
00:46:49,520 --> 00:46:52,800
about like you're kind of trying
to like offer something. 

970
00:46:52,800 --> 00:46:56,760
And of course, like different 
actors, like the rhythm of a 

971
00:46:56,760 --> 00:47:00,840
note is it's something that 
we're finding in the first. 

972
00:47:00,840 --> 00:47:02,120
Yes. 
It's also something that we're 

973
00:47:02,120 --> 00:47:05,920
finding in the first week. 
Yeah, the first week. 

974
00:47:05,920 --> 00:47:08,880
Like I feel like usually I'm 
like, like, because we're trying

975
00:47:08,880 --> 00:47:10,200
things. 
Yeah, totally. 

976
00:47:10,320 --> 00:47:13,880
I mean, the thing about it being
romantic is so true because it's

977
00:47:13,880 --> 00:47:19,760
like, I see something in you and
I'm seeing something and I have 

978
00:47:19,760 --> 00:47:24,200
an idea of where this could go 
and like, but I don't know. 

979
00:47:24,280 --> 00:47:28,080
And we have to decide together. 
Like there's a real kind of leap

980
00:47:28,080 --> 00:47:32,320
of faith of like to me and 
notice sort of like I have a 

981
00:47:32,320 --> 00:47:35,960
hypothesis about something that 
could be over an interesting 

982
00:47:35,960 --> 00:47:38,240
road to walk down, but I don't 
know what's going to happen at 

983
00:47:38,240 --> 00:47:40,280
the end of the road. 
Are you interested in walking 

984
00:47:40,280 --> 00:47:43,760
down the road with me and doing 
this this way to see what we 

985
00:47:43,760 --> 00:47:45,760
come up with together? 
It's like a very intimate. 

986
00:47:46,080 --> 00:47:47,720
Yeah. 
And that's. 

987
00:47:48,160 --> 00:47:52,840
Oh yeah, and also we get to 
learn what are how he grew up 

988
00:47:52,840 --> 00:47:54,040
too. 
Like, it's kind of like you get 

989
00:47:54,040 --> 00:47:56,360
to learn about the culture that 
we all grew up in. 

990
00:47:56,640 --> 00:47:58,120
Like the way communication 
lands. 

991
00:47:58,200 --> 00:48:00,840
Yeah, because I'm like, well, 
I'm like, I might have used a 

992
00:48:00,840 --> 00:48:06,080
certain word and that word is 
actually not translating because

993
00:48:06,560 --> 00:48:09,960
it means something else to them.
Like I feel like that was really

994
00:48:09,960 --> 00:48:13,360
fun with for example, cause 
what's what's amazing about 

995
00:48:13,360 --> 00:48:16,000
working with Dakota is that like
Shahur and I, I think because 

996
00:48:16,000 --> 00:48:19,600
like I have a banks. 
IVI both of you have banks both.

997
00:48:19,600 --> 00:48:25,200
Have banks, but also, you know, 
we're both, I was maybe going to

998
00:48:25,200 --> 00:48:27,680
be a psychologist, like a 
psychology major in college. 

999
00:48:28,440 --> 00:48:31,240
So I was doing that. 
And I think she's so savvy about

1000
00:48:31,240 --> 00:48:33,680
like psychological language in 
general. 

1001
00:48:33,680 --> 00:48:36,760
So I feel like something about 
like our language was already 

1002
00:48:36,760 --> 00:48:39,360
pretty immediate. 
And so that with her, the rhythm

1003
00:48:39,360 --> 00:48:42,320
would be very like she would 
just try. 

1004
00:48:42,320 --> 00:48:45,880
The first take would be rolling 
and then the between the 1st and

1005
00:48:45,880 --> 00:48:50,400
2nd take, we would talk about it
in a language that would be so 

1006
00:48:50,400 --> 00:48:52,720
fast. 
And so we would talk about it as

1007
00:48:52,720 --> 00:48:55,880
almost telepathic, because we 
would barely have to be fully 

1008
00:48:55,880 --> 00:48:59,240
articulate for us to know why 
that's cool, what we're missing 

1009
00:48:59,240 --> 00:49:01,360
for the first one. 
You both agree, kind of. 

1010
00:49:01,360 --> 00:49:03,040
We would. 
And then the second text you 

1011
00:49:03,040 --> 00:49:05,160
will just know, wow, yeah, I 
know. 

1012
00:49:05,160 --> 00:49:07,520
And then the third take will 
start to try new things. 4th 

1013
00:49:07,520 --> 00:49:08,680
take. 
It was kind of like that. 

1014
00:49:09,240 --> 00:49:13,040
When you were shooting that like
did, did you feel that on set 

1015
00:49:13,040 --> 00:49:14,960
and then also in the edit that 
was the same? 

1016
00:49:16,680 --> 00:49:18,600
Oh, yeah. 
Well, and then when it comes to 

1017
00:49:18,600 --> 00:49:21,200
Chris, for example, you know, 
like he and I, I think the first

1018
00:49:21,200 --> 00:49:23,800
week we were trying to figure 
out different language because 

1019
00:49:23,800 --> 00:49:27,800
of like, because he's like a, I 
don't know, like he's from a, 

1020
00:49:27,800 --> 00:49:29,560
like a kind of like a different 
generation. 

1021
00:49:30,040 --> 00:49:32,240
And also like he's a guy from 
Boston. 

1022
00:49:32,280 --> 00:49:33,720
Yeah. 
He's a Boston guy. 

1023
00:49:33,960 --> 00:49:36,560
Like he's a Boston guy, so there
was a part of where I'd be like,

1024
00:49:36,800 --> 00:49:39,960
I would use the word like humble
and he would understand it in in

1025
00:49:39,960 --> 00:49:42,120
a different way. 
So we'd be kind of like aligning

1026
00:49:42,120 --> 00:49:45,640
some of those languages, right. 
But the thing that I really love

1027
00:49:45,640 --> 00:49:49,280
about working with him is that 
he there are a couple of things 

1028
00:49:49,280 --> 00:49:51,640
that like, you know, wouldn't 
just make me and Dakota like 

1029
00:49:51,640 --> 00:49:55,000
laugh so much, which is that 
like when he hits the when he 

1030
00:49:55,160 --> 00:49:58,360
attempt to roll and he comes and
hits the mark, he goes, all 

1031
00:49:58,360 --> 00:50:01,880
right, let's fucking act. 
He says it every time. 

1032
00:50:01,880 --> 00:50:03,840
He says that like not every 
time, but sometimes when he's 

1033
00:50:03,840 --> 00:50:05,960
like sucking himself and he 
shows he's like, all right, 

1034
00:50:05,960 --> 00:50:08,960
let's fucking act. 
Oh my God, so sweet. 

1035
00:50:08,960 --> 00:50:11,880
And then the other and then in 
between when I give him notes. 

1036
00:50:12,080 --> 00:50:15,440
And with him it would be more 
like because I sometimes you're 

1037
00:50:15,440 --> 00:50:18,560
trying to dole out a few notes 
at a time, but with him, I give 

1038
00:50:18,560 --> 00:50:20,040
him all 10 he wants. 
To know. 

1039
00:50:20,120 --> 00:50:21,560
He wants to know, he wants to 
hear everything. 

1040
00:50:21,800 --> 00:50:23,920
And then in the next take, it's 
amazing. 

1041
00:50:23,920 --> 00:50:26,920
He'll do all of it, right? 
And The thing is like, he's 

1042
00:50:26,960 --> 00:50:30,200
really technical. 
When I give him a note for the 

1043
00:50:30,200 --> 00:50:34,600
next take, he hears that we talk
about it, and he goes, all 

1044
00:50:34,600 --> 00:50:38,520
right, got it, Watch this. 
That's so. 

1045
00:50:38,720 --> 00:50:41,960
Sweet, honestly. 
Like the beauty of that is he is

1046
00:50:41,960 --> 00:50:45,400
creating new energy to lighten 
the moment so that the next 

1047
00:50:45,400 --> 00:50:47,400
thing can be free. 
It's like, it's like almost like

1048
00:50:47,600 --> 00:50:50,320
returning everyone to childhood.
Yeah, like we're playing. 

1049
00:50:50,320 --> 00:50:52,600
Yes. 
It's like, let's fucking X like 

1050
00:50:52,640 --> 00:50:56,200
that's that's like a way to take
any tension out of the room. 

1051
00:50:56,280 --> 00:50:57,560
It's cool. 
That's amazing. 

1052
00:50:57,600 --> 00:50:59,840
OK, How about Pedro do everyone?
Well, I feel like Pedro. 

1053
00:51:00,480 --> 00:51:03,320
I mean, with Pedro, I feel like 
so much of it is about like in 

1054
00:51:03,320 --> 00:51:05,840
such like abstract language 
sometimes like we will kind of 

1055
00:51:05,840 --> 00:51:09,120
get into it in a way where we're
like, again, I think it's 

1056
00:51:09,120 --> 00:51:11,640
similar to the way it is with 
Dakota, where it's very 

1057
00:51:11,880 --> 00:51:16,240
philosophical and psychological.
And then it's usually before we 

1058
00:51:16,240 --> 00:51:18,760
roll. 
That's when we talk a lot 

1059
00:51:18,760 --> 00:51:20,280
before. 
Oh, interesting. 

1060
00:51:20,520 --> 00:51:24,040
And then he goes and then we and
then we just keep going. 

1061
00:51:24,240 --> 00:51:25,640
Second take. 
Third take. 

1062
00:51:25,640 --> 00:51:28,240
In the. 
In the yeah, because in between 

1063
00:51:28,240 --> 00:51:30,440
and then I feel like when it 
comes to notes, it's always 

1064
00:51:30,440 --> 00:51:34,440
about like something that like I
would usually just give him a 

1065
00:51:34,440 --> 00:51:36,680
word or something that we 
already talked about in the 

1066
00:51:36,680 --> 00:51:40,200
before we started rolling. 
Oh my God, how it is like 

1067
00:51:40,320 --> 00:51:42,040
they're different. 
There's something very like 

1068
00:51:43,480 --> 00:51:48,960
familial, something very like 
intimate and like, yes, deep 

1069
00:51:48,960 --> 00:51:52,640
about like learning how someone 
needs to be communicated with. 

1070
00:51:52,640 --> 00:51:55,520
It's very loving. 
I mean, to learn how someone 

1071
00:51:55,960 --> 00:51:58,840
receives a note because being an
actor is so vulnerable and like,

1072
00:51:59,160 --> 00:52:01,160
you're just throwing yourself. 
And you know what? 

1073
00:52:02,200 --> 00:52:05,240
This is like something I feel 
like I really understood for the

1074
00:52:05,240 --> 00:52:11,280
first time is how, how how much 
control actors let go of how 

1075
00:52:11,280 --> 00:52:15,200
much they give you and then how 
much trust they have that you 

1076
00:52:15,200 --> 00:52:16,720
will take care of them on the 
other side. 

1077
00:52:17,240 --> 00:52:21,280
And that responsibility is 
intense and so powerful. 

1078
00:52:21,280 --> 00:52:24,560
It's so powerful to be given 
that gift of like I did all 

1079
00:52:24,560 --> 00:52:28,280
these takes for you. 
I let you choose which one that 

1080
00:52:28,280 --> 00:52:31,680
you think fits on the body and 
I'm going to be the face of the 

1081
00:52:32,000 --> 00:52:34,880
of the body or whatever. 
Like, and that I feel like it's 

1082
00:52:34,880 --> 00:52:38,600
really made me think about, you 
know, the future. 

1083
00:52:38,600 --> 00:52:44,120
And like, you really do have to,
you have to work with people who

1084
00:52:44,120 --> 00:52:49,160
are, who are going to learn, 
learn you as a whole person, 

1085
00:52:49,160 --> 00:52:53,440
like who care enough to, to see 
you as full, because that's how 

1086
00:52:53,440 --> 00:52:56,360
you can hand your whole self off
to them and trust that they'll 

1087
00:52:56,360 --> 00:52:59,240
put it together in a way that 
honours like your soul. 

1088
00:53:00,000 --> 00:53:02,320
Totally. 
And I think it's like with great

1089
00:53:02,320 --> 00:53:05,160
power comes great 
responsibility, you know what I 

1090
00:53:05,160 --> 00:53:05,600
mean? 
Like that? 

1091
00:53:05,600 --> 00:53:08,120
Isn't that just like? 
Ain't that the truth? 

1092
00:53:08,480 --> 00:53:10,360
That is like the. 
Thesis of what we can. 

1093
00:53:11,400 --> 00:53:13,240
It's like it's just a lot of 
responsibility. 

1094
00:53:13,240 --> 00:53:17,160
And I feel like if you take that
very, very seriously, you know, 

1095
00:53:17,400 --> 00:53:20,520
and, and the whole thing is like
every day you're showing up and 

1096
00:53:20,520 --> 00:53:23,240
you're promising everyone we're 
gonna make a great movie today. 

1097
00:53:23,280 --> 00:53:24,760
Yes, we're gonna make a great 
movie today. 

1098
00:53:24,880 --> 00:53:28,360
You know, of course to all the 
actors, but also every single 

1099
00:53:28,360 --> 00:53:29,720
person works in the movie. 
Yeah. 

1100
00:53:30,080 --> 00:53:31,160
Did we do it? 
We finished. 

1101
00:53:31,160 --> 00:53:33,000
I think we did. 
That's the end of the podcast. 

1102
00:53:33,000 --> 00:53:33,680
The weird way to end?