WEBVTT - Ep23 - Denis Villeneuve / "Arrival"

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<v Speaker 1>Welcome to Playback, a Variety podcast. On today's show, we

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<v Speaker 1>talked about this year's OSCAR Nominees luncheon, as well as

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<v Speaker 1>some new releases like the Lego Batman Movie and John

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<v Speaker 1>Wick Chapter two. A little bit later, I'll be talking

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<v Speaker 1>to a rival director, dune Ville Noeuve. So stick around. Okay,

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<v Speaker 1>we're back. I guess we're getting into the home stretch here,

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<v Speaker 1>Joannelle ready to de claric part runners. Like two weeks

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<v Speaker 1>out before the Oscars, I'm ready to say spoken. I

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<v Speaker 1>think she's gonna be all right. D g a U

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<v Speaker 1>the a S c American Society of Cinematographers. That was

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<v Speaker 1>a throw loop there, Yeah, a little bit um, you know.

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<v Speaker 1>I Greg Fraser Lion DP, he won Camerone Mage, so

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<v Speaker 1>I kind of thought there was gonna be a surprise.

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<v Speaker 1>I just didn't know what. I didn't know, maybe Bradford

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<v Speaker 1>Young would win for Arrival or if uh, you know.

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<v Speaker 1>I didn't know that La La Land was gonna win

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<v Speaker 1>that and it didn't. But I talked to Gregg Fraser

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<v Speaker 1>at the Nomineese lunch and he said his money was

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<v Speaker 1>on Lena's. What are we supposed to say, though, Like, oh, no,

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<v Speaker 1>I'm totally gonna win this thing, right. Like, I don't

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<v Speaker 1>know if you saw the little snappy of me and

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<v Speaker 1>Emmistone at the Oscars luncheon, but she was talking about

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<v Speaker 1>premiering La La Land in Venice, and I said, well,

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<v Speaker 1>you're being modest, but you also won Best Actress there,

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<v Speaker 1>and she does, that's not being modest, Like am I

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<v Speaker 1>supposed to just announce that? Like, oh, and by the way,

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<v Speaker 1>I won Best Actress And I was like, yes, you

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<v Speaker 1>should talk on your forehead put resume forward every time.

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<v Speaker 1>Uh so, you know, what can you really say? D

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<v Speaker 1>g A went to Damien obviously. Yeah. I mean it's

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<v Speaker 1>like except in those boring below the line categories. Oh whoops, sorry,

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<v Speaker 1>I fell asleep for a second there. What were you saying? Yeah,

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<v Speaker 1>so I hear the words below the and it's like

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<v Speaker 1>a you know, a trigger, I just fall asleep. This

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<v Speaker 1>is a joke. By the way, Chris seems to think

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<v Speaker 1>that I am not impressed by which is hilarious, because

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<v Speaker 1>you know, I have a thing for editors. Really why,

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<v Speaker 1>I don't know. I just dated a lot of editors

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<v Speaker 1>in a row. I also went through a magician phase

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<v Speaker 1>because they spend time in dark rooms by themselves growing

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<v Speaker 1>their facial hair, and that could pretty much describe any

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<v Speaker 1>living on um. You know, so I was just like,

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<v Speaker 1>let's talk about some other stuff, Like what else can

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<v Speaker 1>we talk about? You've seen Lego Batman movie. Yeah, I

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<v Speaker 1>was really pleasantly surprised. And let's you know, when um

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<v Speaker 1>is it Chris Miller and Phil Lord did the first

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<v Speaker 1>Lego movie. I was like, I'm not going to see

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<v Speaker 1>that. That That looks terrible. What a dumb idea? Then it's amazing,

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<v Speaker 1>which was sort of how I felt about their twenty

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<v Speaker 1>one Jump Street movie and also how I felt about

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<v Speaker 1>their series Last Man on Earth. And I realized these

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<v Speaker 1>guys just take terrible ideas and make wonderful things from them.

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<v Speaker 1>That seems to be their brand. Let's see how Han

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<v Speaker 1>Solo Han Sologo. Yeah, I'm very excited, but uh so

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<v Speaker 1>I didn't. I thought that, you know, Lego Batman Batman

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<v Speaker 1>is very funny in the Lego movie. You know, he's

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<v Speaker 1>an eggsty orphan. But I was like, are they going

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<v Speaker 1>to sustain that joke for a full movie. It turns

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<v Speaker 1>out they did. It's in the music there and this

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<v Speaker 1>isn't there like a song and the songs about me

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<v Speaker 1>being an orphan. No, no, there's like there's some there's

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<v Speaker 1>some like death metal thing that happens there where they're

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<v Speaker 1>like no parents anyway, who's the guy Will Who's like

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<v Speaker 1>might be one of the best Batman's ever, I'll say

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<v Speaker 1>him in Christian Bale are my favorite Batman's or Batman Batman?

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<v Speaker 1>I don't know if I'm going to be into that

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<v Speaker 1>or not. I like the Lego movie. I thought that

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<v Speaker 1>the call to worship on that movie was a little overblown, though.

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<v Speaker 1>I was like, come on, I don't disagree with that,

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<v Speaker 1>and I think I had such low expectations that I

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<v Speaker 1>was like, oh my gosh, this is actually clever um

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<v Speaker 1>like how Batman was really everyone. Yeah, for the most part,

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<v Speaker 1>it's really really well done. I saw John Wick Chapter two.

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<v Speaker 1>Did you see the first one? I did? But we

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<v Speaker 1>have discussed my triggers before, and this is an entire

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<v Speaker 1>movie built around my trigger. Oh well, the second one

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<v Speaker 1>is not okay. Can you say that twenty dogs die

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<v Speaker 1>in this one? New dogs die? I'm in In fact,

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<v Speaker 1>I think I would say that there's something in this

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<v Speaker 1>movie that specifically for the people they triggered as an apology.

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<v Speaker 1>That's fantastic. Then I am. I am all in on

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<v Speaker 1>John Wick too. Hear great things about I loved it.

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<v Speaker 1>I mean I told I mean, look, I'm turning my

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<v Speaker 1>brain off when I go into these things. But like

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<v Speaker 1>I saw it like two nights ago or something. Uh,

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<v Speaker 1>they're just yeah, it's ultra violent and I'm desensitized as hell,

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<v Speaker 1>but like it's awesome. There's a place for that. I

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<v Speaker 1>think our critic Bruges was writing about it like it

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<v Speaker 1>was like it's like a dance the way that just

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<v Speaker 1>choreography of the action, And yeah, it totally is. And

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<v Speaker 1>but there's there's funny character elements, and there's this whole

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<v Speaker 1>built in mythology that they've expanded further in this movie,

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<v Speaker 1>just this underworld of Hitman essentially, and and and just

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<v Speaker 1>it's it's really fascinating. And I walked out of there.

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<v Speaker 1>I was like, I could do John Wick movies forever.

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<v Speaker 1>I totally could just do one every other year or something.

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<v Speaker 1>I want to get Kanu in here to talk about

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<v Speaker 1>that who, by the way, everyone says, the nicest person

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<v Speaker 1>alive and I would never talk too. No. I don't

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<v Speaker 1>know if you know this, but he looks exactly like

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<v Speaker 1>my brother, because my brother is also actually from the

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<v Speaker 1>same town that I believe. I don't know if he

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<v Speaker 1>grew up in or he was born in, but his

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<v Speaker 1>half Hawaiian, and my brother gets stopped all the time

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<v Speaker 1>and given that, like, you know, you look like and

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<v Speaker 1>it's kind of ery. And I've actually been told that

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<v Speaker 1>I look a little bit like a sister, but I've

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<v Speaker 1>never seen a picture of her that's true or not.

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<v Speaker 1>But I saw him out I think it was outside

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<v Speaker 1>of like Alien three years ago, and there was this

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<v Speaker 1>weird moment when I was like walking down the street

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<v Speaker 1>and I locked eyes with Kanda Reeves, and you do

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<v Speaker 1>sometimes you're just like, oh, hey, there's that person I

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<v Speaker 1>know and then you realize, oh my god, I don't

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<v Speaker 1>know you at all. You're you're a celebrity, and I

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<v Speaker 1>just recognized you. But he was looking at me like

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<v Speaker 1>we were kind of kind of like this weird, quizzical look,

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<v Speaker 1>and I was like, maybe I really, like, do look

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<v Speaker 1>like someone from his family? Well, he's he is one

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<v Speaker 1>of the nicest guys I've ever talked to. But amazing stories,

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<v Speaker 1>Like a couple of pieces a few years ago on

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<v Speaker 1>the twentieth anniversary of Speed, which is unequivocally one of

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<v Speaker 1>my favorite movies of all time. You know, one of

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<v Speaker 1>my best friends is in that movie, that Grant because

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<v Speaker 1>I talked to all of the passengers on the bus. Yeah,

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<v Speaker 1>I think two of them had passed away, but that

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<v Speaker 1>was a fun story. And she just sings canons praises. Yeah,

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<v Speaker 1>they all do. Because he had there was somebody on

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<v Speaker 1>that bus, one of the we're on a tangent now,

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<v Speaker 1>one of the one of the passengers, one of the

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<v Speaker 1>actors that played one of the passengers like taught him

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<v Speaker 1>Shakespeare and can it really? So it was like his

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<v Speaker 1>Shakespearean teaching was that when he then went and did Hamlet.

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<v Speaker 1>Oh interesting. I remember there was a review of his Hamlet,

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<v Speaker 1>um and it was mints a compliment, I believe. But

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<v Speaker 1>the poll quote was funny because it was something like

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<v Speaker 1>he gets all the words in the right places. Okay,

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<v Speaker 1>what else? So? Um, can I ask a questions? At

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<v Speaker 1>the end of John Wick, he adopts, well, he steals

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<v Speaker 1>actually a sweet little baby kit Bull. Is that dog

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<v Speaker 1>in this movie? That dog is in this movie? I'm

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<v Speaker 1>so in Okay, Uh, we've got a Tony Erdman remake

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<v Speaker 1>on the Way that I'd love to talk about kind

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<v Speaker 1>of amazing casting. I'm looking at the story now and Variety.

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<v Speaker 1>It's got a hundred and thirty six comments. Like, I

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<v Speaker 1>don't think any story about Tony Erdman has a hundred

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<v Speaker 1>thirty six comments, But the fact that there's a remake

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<v Speaker 1>with Jack Nicholson finally back in the saddle is a

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<v Speaker 1>big deal. I was excited about that. Then I was

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<v Speaker 1>really excited that it looks like Kristin Wig Christian Lady's daughter. Yeah,

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<v Speaker 1>I'm not a huge fan of Tony Ordman, but I'm

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<v Speaker 1>there for this. I liked it. I think you should

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<v Speaker 1>have been about three hours shorter. I'm sorry it was

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<v Speaker 1>six hours long, right, Yeah, it felt like it. It

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<v Speaker 1>wasn't necessarily long. I feel like, yeah, there's like a

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<v Speaker 1>rhythm you can get into watching it, but like it's

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<v Speaker 1>a little arbitrary, like you don't you don't need that.

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<v Speaker 1>But he's he's back. I think everyone thought he was

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<v Speaker 1>just done. Yeah, I mean it's not like he needs

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<v Speaker 1>the money, like just go hang out at Lakers games.

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<v Speaker 1>This feels like an Oscar nomination. Like, I mean, I

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<v Speaker 1>find retily, but come on, come on, He's perfect depending

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<v Speaker 1>on where they take, like what direction they take the movie.

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<v Speaker 1>If it's if it's like you know, like they go

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<v Speaker 1>to uh glossy comedy with it, then know. But like

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<v Speaker 1>I suggested somebody like Kelly Fremont Craig to direct it,

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<v Speaker 1>some somebody like that's the name, right, I don't know.

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<v Speaker 1>You're looking at me. Oh gosh, that would be amazing. Yeah,

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<v Speaker 1>like you seen I haven't seen it. I suggesting they

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<v Speaker 1>need to have a female direct this film because if

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<v Speaker 1>they if Paramount remakes a film, a foreign film from

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<v Speaker 1>a female director and then just swaps like Alexander Payin

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<v Speaker 1>on it or something. I was gonna say, Alexander Payne,

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<v Speaker 1>it would be so great. That would be a great movie.

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<v Speaker 1>But like, come on, they would probably get hit with

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<v Speaker 1>some bad press for that, I think. And this day

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<v Speaker 1>hadn't even occurred to me, which is funny because I

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<v Speaker 1>don't know if you know this, but I'm a woman.

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<v Speaker 1>I noticed. I just think, you know, like Kelly would

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<v Speaker 1>be great because there's the James Brooks connection there too

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<v Speaker 1>that I'm sure that you know Brooks would have a

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<v Speaker 1>great recommendation for Jack about that. But anyway, I was

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<v Speaker 1>trying to think of directors who are mainstream but quirky enough.

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<v Speaker 1>You know what, let's let's let's do h Phil Lord

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<v Speaker 1>and Chris Miller. It does seem to be able. They

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<v Speaker 1>were a little busy though. Right now we were talking

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<v Speaker 1>briefly about the luncheon. You were backstage talking to the peeps.

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<v Speaker 1>I was not backstage. I was in a hotel room.

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<v Speaker 1>It's the weirdest set up. UH. Publications and media basically

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<v Speaker 1>get hotel rooms at the hotel where the luncheon is held,

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<v Speaker 1>and then you wrangle all the nominees who are there

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<v Speaker 1>twitting the luncheon to come into your hotel room. And

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<v Speaker 1>it's um sounds kind of peculiar. They just basically popped

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<v Speaker 1>from where you're in an aquarium or something. What do

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<v Speaker 1>you say that? Oh? I know everyone, I'm curious what

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<v Speaker 1>was going on like it was and we were trying

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<v Speaker 1>to be atmospheric and different everyone else. I'm making fun

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<v Speaker 1>of a creative choice. I didn't mean to do that.

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<v Speaker 1>I'm sorry again, No, I mean it does look odd

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<v Speaker 1>when you watch the video, but I have to say

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<v Speaker 1>the photos look amazing. There's this photo of Mel Gibson

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<v Speaker 1>that it's just you look at that and you're like, yeah,

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<v Speaker 1>that's that's a star. Yeah. Mel was really wonderful. You know.

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<v Speaker 1>He came by and talked about working with Vince Vaughn

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<v Speaker 1>and how some people thought it was a little strange

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<v Speaker 1>to cast Vince Vaughn in such a serious role in

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<v Speaker 1>Hacksaw Ridge, and he's like, it didn't even occur to me.

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<v Speaker 1>You know, he's just a great actor. He is. But

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<v Speaker 1>it threw me out of it. I know, I think

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<v Speaker 1>Vine is fantastic in the movie, and you that that's

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<v Speaker 1>one of your problems. I don't think he's bad in

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<v Speaker 1>the movie. I just think it it just takes me

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<v Speaker 1>out of the movie. And that's all Like It's it's like,

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<v Speaker 1>like he's clearly committed to the part and playing a

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<v Speaker 1>serious role. But I'm looking at dude from Swingers playing

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<v Speaker 1>a drill sergeant and it's you know, it just takes

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<v Speaker 1>me out a little bit. Also, Sean Levy dropped by,

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<v Speaker 1>you know, because he's the producer on Arrival, and uh

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<v Speaker 1>keeps insisting he's also an EP on Stranger Things, keeps

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<v Speaker 1>insisting Barb is not alive. People, you need to let go.

0:11:25.160 --> 0:11:28.160
<v Speaker 1>Barb is dad. I hate to be the want want

0:11:28.240 --> 0:11:31.320
<v Speaker 1>guy here, But I'm not feeling Stranger Things either. You

0:11:31.320 --> 0:11:33.280
<v Speaker 1>didn't like the Prost season like stranger? Did you make

0:11:33.320 --> 0:11:35.680
<v Speaker 1>it through it? I did, and it just felt like

0:11:35.720 --> 0:11:38.319
<v Speaker 1>the same kind of nostalgia that the entire community that

0:11:38.400 --> 0:11:41.520
<v Speaker 1>embraced that show usually just dumps all over. So I

0:11:41.559 --> 0:11:43.560
<v Speaker 1>didn't know what. I couldn't figure out what this had

0:11:43.600 --> 0:11:45.840
<v Speaker 1>did other things don't have, you know. But I felt

0:11:45.840 --> 0:11:47.720
<v Speaker 1>the same way about Super eight. I could not. I

0:11:47.720 --> 0:11:49.480
<v Speaker 1>didn't like Super eight at all. I thought this this

0:11:49.600 --> 0:11:52.599
<v Speaker 1>succeeded were Super eight failed? Um? You know. One of

0:11:52.640 --> 0:11:54.280
<v Speaker 1>the things I really liked about it was that it

0:11:54.400 --> 0:11:57.560
<v Speaker 1>gave answers, and even though those answers might be kind

0:11:57.600 --> 0:12:01.040
<v Speaker 1>of crazy, it committed to them. Like on The o A,

0:12:02.679 --> 0:12:06.560
<v Speaker 1>which just was announced for a new season today. Um

0:12:06.679 --> 0:12:09.360
<v Speaker 1>we we we get some answers, you know. And again

0:12:09.440 --> 0:12:13.280
<v Speaker 1>I admire that they went with like crazy answers, um,

0:12:13.520 --> 0:12:15.720
<v Speaker 1>but they also leave a lot open ended and Stranger

0:12:15.760 --> 0:12:18.960
<v Speaker 1>Things just felt very satisfying because they answered pretty much

0:12:18.960 --> 0:12:21.559
<v Speaker 1>all my questions. Did you see I'm gonna watch it again.

0:12:21.640 --> 0:12:23.640
<v Speaker 1>I'll check it out again with Ryan Reynolds. Do you

0:12:23.679 --> 0:12:26.319
<v Speaker 1>ever see what we call the Nines with Ryan Reynolds.

0:12:26.720 --> 0:12:29.360
<v Speaker 1>I remember that movie not And I freaking love this

0:12:29.400 --> 0:12:31.920
<v Speaker 1>movie because and I don't want to give any spoilers,

0:12:31.920 --> 0:12:33.600
<v Speaker 1>because I think it's on Netflix. A different one should

0:12:33.600 --> 0:12:36.600
<v Speaker 1>watch it because all these crazy things happen, and it

0:12:36.679 --> 0:12:38.839
<v Speaker 1>tells you why, and you almost kind of have to

0:12:38.920 --> 0:12:42.040
<v Speaker 1>laugh at how absurd the explanation is, and you also

0:12:42.080 --> 0:12:46.120
<v Speaker 1>have to admire that they committed to this batschick crazy premise. Yeah, well,

0:12:46.480 --> 0:12:50.520
<v Speaker 1>I'll go back and watch again, I promise. Okay, we're

0:12:50.520 --> 0:12:56.320
<v Speaker 1>talking about I was at a table with Rich Moore,

0:12:56.760 --> 0:13:01.000
<v Speaker 1>director of Utopia, one of the makeup guys on Suicide Squad,

0:13:02.160 --> 0:13:05.800
<v Speaker 1>Andy Nelson, sound mixer for La La Land, and Just Goneta,

0:13:06.040 --> 0:13:09.800
<v Speaker 1>the production designer for He's Awesome. Yeah, he did her.

0:13:10.559 --> 0:13:13.480
<v Speaker 1>I think he might have been that. That was KK Barrett.

0:13:13.720 --> 0:13:18.160
<v Speaker 1>You're right, just does uh. I don't know if he

0:13:18.280 --> 0:13:19.560
<v Speaker 1>has he done this bite movie. He does been at

0:13:19.600 --> 0:13:21.760
<v Speaker 1>Miller's movies, He does Coen Brothers movies. He did Live

0:13:21.760 --> 0:13:24.559
<v Speaker 1>by Night this year. He built an entire town. The

0:13:24.600 --> 0:13:27.120
<v Speaker 1>production design't Live by Night was fantastic. Yeah. Yeah, I'm

0:13:27.120 --> 0:13:29.240
<v Speaker 1>glad he at least had Hail Caesar for like a

0:13:29.240 --> 0:13:33.120
<v Speaker 1>backup this year to get nominated. But he's fun. Um,

0:13:33.480 --> 0:13:35.080
<v Speaker 1>what is it like in there? Like do they have

0:13:35.960 --> 0:13:38.600
<v Speaker 1>I hear that they tell the nominees like keep your

0:13:38.600 --> 0:13:41.560
<v Speaker 1>speech is short, and you know, well this year they

0:13:41.679 --> 0:13:43.679
<v Speaker 1>did that really fun in a really fun way. They

0:13:43.720 --> 0:13:46.680
<v Speaker 1>had this short film that they made with Kate McKennon

0:13:46.840 --> 0:13:50.360
<v Speaker 1>as like a Golden age starlet. Oh is it the

0:13:50.400 --> 0:13:52.240
<v Speaker 1>character she plays in? Said night Live? So what he

0:13:52.320 --> 0:13:54.520
<v Speaker 1>was like, I was addicted to pills? Is that is

0:13:54.559 --> 0:13:57.040
<v Speaker 1>that the I couldn't tell if it was because it

0:13:57.080 --> 0:13:59.480
<v Speaker 1>was ringing a bell, Yeah, but I don't. I don't

0:13:59.480 --> 0:14:01.360
<v Speaker 1>know if it was an actual would you recognize the

0:14:01.400 --> 0:14:03.960
<v Speaker 1>name was like Olivia Concave or something like that. I

0:14:03.960 --> 0:14:06.079
<v Speaker 1>know Concave was the last name, so it was it's

0:14:06.160 --> 0:14:09.600
<v Speaker 1>hilarious last name. But anyway, the idea was she it

0:14:09.640 --> 0:14:11.600
<v Speaker 1>was a short film that was made for the nominees

0:14:11.640 --> 0:14:14.680
<v Speaker 1>of the eleventh Annual Academy Awards, and it's like tips

0:14:14.720 --> 0:14:16.720
<v Speaker 1>for for your speech and stuff, and it was they

0:14:16.760 --> 0:14:18.600
<v Speaker 1>kind of put this online. It was hilarious. I hope

0:14:18.640 --> 0:14:21.800
<v Speaker 1>they do. There's no reason not to, but they do that.

0:14:21.880 --> 0:14:25.080
<v Speaker 1>They have you know, the producers come out and Goldry

0:14:25.160 --> 0:14:27.280
<v Speaker 1>is the name of the character she plays on Somebody

0:14:27.400 --> 0:14:32.720
<v Speaker 1>Wasn't different Hollywood Golden Age Starlett. But the producers come

0:14:32.720 --> 0:14:35.480
<v Speaker 1>out and talk about like the same thing, like no

0:14:35.520 --> 0:14:38.560
<v Speaker 1>one wants to hear about your agent, and you're what's

0:14:38.600 --> 0:14:40.040
<v Speaker 1>kind of annoys me? Did they come out and tell

0:14:40.040 --> 0:14:42.440
<v Speaker 1>people what they should say? Well? And also like every

0:14:42.520 --> 0:14:45.560
<v Speaker 1>year we have like six tributes to shoes and then

0:14:45.600 --> 0:14:48.640
<v Speaker 1>they give the speakers what is it seconds to give

0:14:48.680 --> 0:14:50.240
<v Speaker 1>a speech, like they should be able to say what

0:14:50.280 --> 0:14:51.960
<v Speaker 1>the hell they want. If I want an oscar, I'm

0:14:51.960 --> 0:14:53.160
<v Speaker 1>gonna if and I don't want to get there and

0:14:53.200 --> 0:14:55.240
<v Speaker 1>chew gum and stare at the camera forty seconds and

0:14:55.280 --> 0:14:57.280
<v Speaker 1>I'm gonna do that. Oh my god, I would pay money.

0:14:57.280 --> 0:15:00.320
<v Speaker 1>I hope herschel Ali. If you're listening, just chew gum

0:15:00.320 --> 0:15:03.040
<v Speaker 1>and stare at the camera to gom like Melissa McCarthy

0:15:03.080 --> 0:15:08.360
<v Speaker 1>did on Saturday Night. Great Sketch. But yeah, it's just

0:15:08.480 --> 0:15:12.200
<v Speaker 1>you know, everyone sits, everyone eats every you mill around

0:15:12.320 --> 0:15:16.240
<v Speaker 1>because you random, right, Yeah, there's like a little lottery

0:15:16.320 --> 0:15:18.080
<v Speaker 1>bol do they do it their live like they call

0:15:18.120 --> 0:15:20.880
<v Speaker 1>it Chris Tapley. It's a little more low key. You

0:15:20.880 --> 0:15:22.520
<v Speaker 1>go over to the corner of the press table and

0:15:22.680 --> 0:15:26.360
<v Speaker 1>you you spend the wheel and thank you, here's your table.

0:15:26.360 --> 0:15:28.520
<v Speaker 1>Because I think I saw Denzel in Viola were sitting

0:15:28.520 --> 0:15:33.200
<v Speaker 1>together and was that coincidence or people they placed the nominees,

0:15:33.480 --> 0:15:40.480
<v Speaker 1>but the press actually is the whole thing. Was that? Okay? Um,

0:15:40.560 --> 0:15:42.560
<v Speaker 1>so you know, and then everyone gets up yet for

0:15:42.600 --> 0:15:46.320
<v Speaker 1>the big class photo, which is I'm sitting there listening

0:15:46.360 --> 0:15:49.120
<v Speaker 1>to two or fifty names be called by Laura Dern

0:15:49.160 --> 0:15:50.400
<v Speaker 1>and she does it well. And then ever you have

0:15:50.440 --> 0:15:52.800
<v Speaker 1>to applaud for people, and some people getting such a

0:15:52.880 --> 0:15:58.400
<v Speaker 1>plod and yeah, you biggest applause and not this ever

0:15:58.440 --> 0:16:01.120
<v Speaker 1>means anything. The biggest applause I could tell was Viola

0:16:01.480 --> 0:16:05.480
<v Speaker 1>bridges naturally like you know, everybody loves him. Yeah. I

0:16:05.520 --> 0:16:07.840
<v Speaker 1>thought the Law all End team early on got some

0:16:07.840 --> 0:16:11.600
<v Speaker 1>some nice pops, but then by theminators were like, okay,

0:16:11.760 --> 0:16:14.080
<v Speaker 1>we get it. Oh, by the way, I dropped her

0:16:14.160 --> 0:16:18.240
<v Speaker 1>name to the Cubo um VFX team and Travis Knight

0:16:18.680 --> 0:16:20.320
<v Speaker 1>and was telling him, you know how much you loved

0:16:20.360 --> 0:16:23.960
<v Speaker 1>the movie and how you predicted the nominations after the

0:16:23.960 --> 0:16:28.920
<v Speaker 1>bake off, and um they were they instantly were like, oh,

0:16:28.960 --> 0:16:30.720
<v Speaker 1>Chris has been so great they took it was funny.

0:16:30.760 --> 0:16:32.880
<v Speaker 1>They were one of those people who like, they're coming

0:16:32.920 --> 0:16:34.280
<v Speaker 1>down the hall, They're coming down the hall, and like

0:16:34.320 --> 0:16:36.200
<v Speaker 1>five minutes would go by and they're like, no, I

0:16:36.200 --> 0:16:37.840
<v Speaker 1>swear they're coming down the hall now. And I was like,

0:16:38.240 --> 0:16:39.960
<v Speaker 1>is it because they have to come down the hall

0:16:40.000 --> 0:16:45.120
<v Speaker 1>one frame at a time? Yeah, well that is such

0:16:45.160 --> 0:16:48.880
<v Speaker 1>a nerdy, obscure joke. And if anybody out there got

0:16:48.880 --> 0:16:50.880
<v Speaker 1>it to marry me, they got it. If they're listening

0:16:50.920 --> 0:16:52.600
<v Speaker 1>to this, they got it. We have a smart audience.

0:16:52.920 --> 0:16:57.440
<v Speaker 1>Well I agree, but a very intelligent Let me rephrase that.

0:16:57.480 --> 0:17:00.640
<v Speaker 1>If anybody out there got it and found it amusing, okay,

0:17:01.040 --> 0:17:05.200
<v Speaker 1>marry me. Uh yeah. I wrote this thing last week

0:17:05.280 --> 0:17:08.439
<v Speaker 1>that just you know, I'm not being overly passionate here.

0:17:08.440 --> 0:17:10.600
<v Speaker 1>I love Utopia too, but I think like has been

0:17:10.760 --> 0:17:12.320
<v Speaker 1>in the mix for a couple of years and it's

0:17:12.359 --> 0:17:14.880
<v Speaker 1>probably time at some point to give them an Oscar.

0:17:15.000 --> 0:17:18.840
<v Speaker 1>And a lot of people weirdly threatened by that post.

0:17:18.840 --> 0:17:20.840
<v Speaker 1>I don't know. I don't I wouldn't be so threatened

0:17:20.840 --> 0:17:22.639
<v Speaker 1>on behalf of a movie that made a billion dollars

0:17:22.640 --> 0:17:24.760
<v Speaker 1>and is guaranteed to win the Oscar for animated feature.

0:17:24.840 --> 0:17:27.399
<v Speaker 1>That's all I'm saying, isn't that funny? Two fans and

0:17:27.440 --> 0:17:30.520
<v Speaker 1>to studio people. I find like the most innocuous things

0:17:30.520 --> 0:17:33.560
<v Speaker 1>I write sometimes cause the biggest blow ups. It's it's

0:17:33.680 --> 0:17:37.920
<v Speaker 1>it's it's like, just let it go people. Anyway, Well,

0:17:38.200 --> 0:17:41.560
<v Speaker 1>what do we have this week? Denive Llaneuva. Oh so

0:17:41.600 --> 0:17:43.760
<v Speaker 1>wonderful he was, you know, he is just so upset

0:17:43.800 --> 0:17:46.879
<v Speaker 1>about and stay upset because these are champagne problems, but

0:17:46.960 --> 0:17:49.800
<v Speaker 1>like really really bumps about Mami Adams was not known.

0:17:49.920 --> 0:17:52.960
<v Speaker 1>We talked about. Yeah, I'm sure we dive into uh

0:17:54.160 --> 0:17:56.840
<v Speaker 1>she is, I'm pretty sure, and uh we'll talk about

0:17:56.920 --> 0:17:59.200
<v Speaker 1>Dune a little bit and a little bit of Blade Runner,

0:17:59.240 --> 0:18:01.040
<v Speaker 1>you know, try to get him to talk about it. Yeah.

0:18:01.119 --> 0:18:03.480
<v Speaker 1>I did the same, and he told me the most

0:18:03.560 --> 0:18:05.760
<v Speaker 1>I think I've ever heard him say, which is basically

0:18:05.800 --> 0:18:07.359
<v Speaker 1>like I was a big fan of the original and

0:18:07.440 --> 0:18:09.480
<v Speaker 1>Ryan's great to work with. And I was like, that's

0:18:09.480 --> 0:18:12.320
<v Speaker 1>a scoop because because he won't talk about oh you

0:18:12.320 --> 0:18:13.960
<v Speaker 1>know what he did tell me that I found fascinating.

0:18:14.080 --> 0:18:16.359
<v Speaker 1>You might already know this. He's never seen a rival

0:18:16.400 --> 0:18:19.520
<v Speaker 1>with an audience because he's been working and traveling he

0:18:19.560 --> 0:18:24.200
<v Speaker 1>couldn't go to any of the premiers or the festival showing.

0:18:24.440 --> 0:18:26.679
<v Speaker 1>They re expanded it, so he's got his opportunity if

0:18:26.680 --> 0:18:29.480
<v Speaker 1>he wants that. Just being stuck in post on runner

0:18:29.560 --> 0:18:32.080
<v Speaker 1>right now though, so he's in a room somewhere. Does

0:18:32.080 --> 0:18:34.320
<v Speaker 1>that just mean re expanded? Does that mean it's back

0:18:34.320 --> 0:18:36.720
<v Speaker 1>in theaters or they've added stuff. I think they've added

0:18:37.240 --> 0:18:39.760
<v Speaker 1>get out. Yeah, that was the plan. I think, like,

0:18:40.200 --> 0:18:41.600
<v Speaker 1>you know, try to get it closer to a hundred

0:18:41.600 --> 0:18:44.040
<v Speaker 1>million or over a hundred million domestic. It's close to

0:18:44.040 --> 0:18:48.560
<v Speaker 1>two hundred worldwide. So they've added like scenes, no, no, no,

0:18:48.600 --> 0:18:52.800
<v Speaker 1>added screens, screens, I said, added stuff that would be weird. Well,

0:18:52.840 --> 0:18:55.440
<v Speaker 1>I didn't know what the hell that, man. I'm sorry anyway,

0:18:55.520 --> 0:18:59.719
<v Speaker 1>it's better to just agree than yeah. Basically all right,

0:18:59.760 --> 0:19:01.520
<v Speaker 1>so that I'll be talking to me right after this

0:19:01.560 --> 0:19:24.160
<v Speaker 1>stick around for that. This is the day they arrived,

0:19:26.280 --> 0:19:30.040
<v Speaker 1>the object touchdown forty minutes ago. It's going to happen.

0:19:30.440 --> 0:19:33.560
<v Speaker 1>I don't know, Dr Banks. You're at the top of

0:19:33.560 --> 0:19:37.760
<v Speaker 1>everyone's list when it comes to translations. Do you hear

0:19:37.760 --> 0:19:42.480
<v Speaker 1>any words? Is that? Am I the only one having

0:19:42.520 --> 0:19:47.400
<v Speaker 1>trouble thing aliens? That's what it look, you'll see soon enough.

0:19:48.240 --> 0:19:52.399
<v Speaker 1>You need to see me. Dr Brake. That's a proper introduction.

0:19:53.720 --> 0:19:59.000
<v Speaker 1>Jets have landed around the world. It's fair language God

0:19:59.000 --> 0:20:01.720
<v Speaker 1>twenty one hours four based mark moment more. They're not

0:20:01.720 --> 0:20:03.840
<v Speaker 1>our enemy. We need to talk to them. It's more

0:20:03.840 --> 0:20:07.040
<v Speaker 1>complicated than how is it more complicated? Are you dreaming

0:20:07.119 --> 0:20:11.720
<v Speaker 1>in their language? What does this say? How do we

0:20:11.760 --> 0:20:14.760
<v Speaker 1>clarify their intentions? I go back in. What's he doing?

0:20:15.240 --> 0:20:21.560
<v Speaker 1>You are committing an active pretty talk me? Welcome back everyone,

0:20:21.600 --> 0:20:25.520
<v Speaker 1>I'm here with the director of Arrival, Dnievil Nuve. Did

0:20:25.600 --> 0:20:30.520
<v Speaker 1>I say that correctly? Awesome? Okay, because I I do

0:20:30.560 --> 0:20:32.280
<v Speaker 1>wonder if I'm saying it correctly all the time. But

0:20:32.320 --> 0:20:34.560
<v Speaker 1>thanks for coming on, man, I really appreciate it. They're

0:20:34.560 --> 0:20:38.000
<v Speaker 1>happy to be here. Congratulations on your Oscar nomination for

0:20:38.080 --> 0:20:42.800
<v Speaker 1>Best Director for the film. Had that feel that is uh,

0:20:43.400 --> 0:20:45.840
<v Speaker 1>I must say, I must stop to see that. I'm

0:20:45.920 --> 0:20:48.480
<v Speaker 1>digesting this news because it's been a while already. But

0:20:48.520 --> 0:20:51.800
<v Speaker 1>it's just that being very you know. It's it's strange

0:20:51.800 --> 0:20:55.520
<v Speaker 1>because I'm living in parallel to parallel universe as the

0:20:55.560 --> 0:20:58.480
<v Speaker 1>award seasons, and I'm the same time, I'm I'm working

0:20:58.480 --> 0:21:03.159
<v Speaker 1>on my next project. So I'm like always one feet

0:21:03.160 --> 0:21:07.840
<v Speaker 1>and both realities, and and it makes the award seasons

0:21:08.119 --> 0:21:14.919
<v Speaker 1>seems more unreal, like a dream. And and so I

0:21:14.960 --> 0:21:18.200
<v Speaker 1>think that I will feel the impact of this nomination

0:21:18.200 --> 0:21:20.520
<v Speaker 1>in the future. But the way I feel about it

0:21:20.560 --> 0:21:22.800
<v Speaker 1>is that when I think about it is that I'm

0:21:22.840 --> 0:21:27.000
<v Speaker 1>feeling that there's a lot of directors that for who

0:21:27.080 --> 0:21:30.360
<v Speaker 1>I have, for whom I have a lot of respect,

0:21:30.960 --> 0:21:34.840
<v Speaker 1>that never got a nomination, or or that that nominated

0:21:35.000 --> 0:21:39.119
<v Speaker 1>very late in their career. So to have to be nominated,

0:21:39.160 --> 0:21:42.480
<v Speaker 1>I feel it's it's a it's a massive honor, but

0:21:42.520 --> 0:21:44.680
<v Speaker 1>at some time it's a pressure because it means that

0:21:45.080 --> 0:21:47.440
<v Speaker 1>I have to earn it in the future. Now seriously,

0:21:47.520 --> 0:21:49.480
<v Speaker 1>I can not. Yeah, that's the way I feel. I

0:21:49.520 --> 0:21:53.760
<v Speaker 1>hear you in regarding being being involved in your next project.

0:21:53.840 --> 0:21:56.119
<v Speaker 1>I mean I I I've always found in talking to

0:21:56.160 --> 0:21:57.919
<v Speaker 1>people and doing this for a number of years now,

0:21:57.920 --> 0:22:00.359
<v Speaker 1>it's good to be working when you're involved in the

0:22:00.359 --> 0:22:03.359
<v Speaker 1>award season. Actually, otherwise you kind of just you can

0:22:03.359 --> 0:22:06.840
<v Speaker 1>get really two swept up and all of that makes sense,

0:22:06.880 --> 0:22:09.080
<v Speaker 1>that makes sense, And so maybe it's a salutary is

0:22:09.119 --> 0:22:14.159
<v Speaker 1>just that I'm lacking our sleep. But besides that, yeah, no,

0:22:14.320 --> 0:22:16.160
<v Speaker 1>it's true. It to me, it's a good way to

0:22:16.160 --> 0:22:21.360
<v Speaker 1>to to embrace that little madness. It's as people problem.

0:22:21.560 --> 0:22:25.680
<v Speaker 1>But I'm just yeah, yeah, well, uh, I want to

0:22:25.760 --> 0:22:31.520
<v Speaker 1>let's let's talk about screenplays, because just your last couple

0:22:31.560 --> 0:22:36.480
<v Speaker 1>of films, Prisoners was there were a lot of strong characters, obviously,

0:22:36.480 --> 0:22:39.359
<v Speaker 1>but it was pretty plot driven. But beyond that, I

0:22:39.400 --> 0:22:44.040
<v Speaker 1>feel like Enemy and Arrival and Cicario, these are screenplays

0:22:44.080 --> 0:22:48.600
<v Speaker 1>that really allow room for you as a director to

0:22:48.760 --> 0:22:50.560
<v Speaker 1>come in and put your own stamp on it, to

0:22:50.600 --> 0:22:52.800
<v Speaker 1>really inject it with the atmosphere that I think you're

0:22:52.840 --> 0:22:55.359
<v Speaker 1>so great at. So it just kind of made me

0:22:55.400 --> 0:22:59.280
<v Speaker 1>wonder what you look for out of screenplays, particularly since

0:22:59.320 --> 0:23:01.800
<v Speaker 1>you haven't written in your own work in a number

0:23:01.800 --> 0:23:03.640
<v Speaker 1>of years now, So what are you looking for out

0:23:03.640 --> 0:23:06.400
<v Speaker 1>of screenplays? But the thing is that it's it's always

0:23:06.800 --> 0:23:08.840
<v Speaker 1>I think you're you just put your finger and it's

0:23:08.920 --> 0:23:13.600
<v Speaker 1>just that it's like, there's like I choose screen screenplays

0:23:13.600 --> 0:23:15.879
<v Speaker 1>in the past, in my past movies that were not

0:23:15.960 --> 0:23:20.639
<v Speaker 1>necessarily perfect screenplays, but that had a strong potential to

0:23:20.680 --> 0:23:25.800
<v Speaker 1>create strong cinematic moments, and that that I was I

0:23:25.800 --> 0:23:29.920
<v Speaker 1>will be inspired, deeply inspired by as a filmmaker. Uh,

0:23:29.960 --> 0:23:33.320
<v Speaker 1>there's always an element of where I feel in a screenplay. Exactly,

0:23:33.400 --> 0:23:36.680
<v Speaker 1>a screenplay that as some elements of a very strong

0:23:36.720 --> 0:23:41.480
<v Speaker 1>poetry in it, a fresh voice. But I like when

0:23:41.480 --> 0:23:44.159
<v Speaker 1>it's it's a bit raw and I have space to

0:23:44.240 --> 0:23:47.400
<v Speaker 1>evolve as as a filmmaker in it, which means that

0:23:47.560 --> 0:23:50.800
<v Speaker 1>I will and I said that always to the screenwriter,

0:23:50.920 --> 0:23:53.480
<v Speaker 1>that I will be his best friend because I will

0:23:54.480 --> 0:23:57.760
<v Speaker 1>give everything to protect his poetry, and and at the

0:23:57.800 --> 0:24:00.000
<v Speaker 1>same time that I will be his worst enemy because

0:24:00.000 --> 0:24:01.560
<v Speaker 1>as I will, I would be a traitor. I will

0:24:02.040 --> 0:24:05.640
<v Speaker 1>deform scenes. I will I will, I will cut dialogues,

0:24:05.760 --> 0:24:07.399
<v Speaker 1>I will make it my own. I will be a

0:24:07.400 --> 0:24:10.840
<v Speaker 1>bit of a barbaric asshole with the material because I

0:24:10.920 --> 0:24:15.200
<v Speaker 1>need to invade the screenplay. I need to make it.

0:24:15.200 --> 0:24:18.639
<v Speaker 1>It's a bit like when I was adapting a play,

0:24:19.200 --> 0:24:22.280
<v Speaker 1>a stage player, or or a book. I have this

0:24:22.520 --> 0:24:26.760
<v Speaker 1>relationship with the screenplay. I mean through the specifically through

0:24:26.800 --> 0:24:30.159
<v Speaker 1>the storyboarding process. When a storyboarder, it's a way for

0:24:30.280 --> 0:24:35.119
<v Speaker 1>me almost to rewrite the material the screenplay. I'm trying

0:24:35.160 --> 0:24:39.160
<v Speaker 1>to be as faithful as possible. I mean, uh say

0:24:39.720 --> 0:24:43.080
<v Speaker 1>is still tear teller certain screenplay. I mean, I'm trying

0:24:43.080 --> 0:24:48.640
<v Speaker 1>to be faithful, but still I make it my own. Yeah, Arrival.

0:24:48.920 --> 0:24:52.159
<v Speaker 1>It comes from this really kind of brainy short story

0:24:52.440 --> 0:24:56.919
<v Speaker 1>that isn't something that immediately you would think would make

0:24:56.920 --> 0:25:00.959
<v Speaker 1>an easy film adaptation. Certainly, so, whenever I'm curious if

0:25:00.960 --> 0:25:03.320
<v Speaker 1>there was anything, any element of the script that I

0:25:03.440 --> 0:25:05.560
<v Speaker 1>felt like you and Eric really needed to work on

0:25:06.240 --> 0:25:09.119
<v Speaker 1>to get it, there was there any specific thing that

0:25:09.240 --> 0:25:13.119
<v Speaker 1>comes to mind? The thing is that when I read

0:25:13.160 --> 0:25:16.119
<v Speaker 1>the short story Story of your Life written by Tenchion Tenching, I,

0:25:16.400 --> 0:25:20.560
<v Speaker 1>I You're right, it doesn't pop out as as something

0:25:20.600 --> 0:25:25.080
<v Speaker 1>that could be an easy cinematic adaptation. It's a it's

0:25:25.119 --> 0:25:31.600
<v Speaker 1>an intellectual, a little short story that describes a process,

0:25:32.520 --> 0:25:39.280
<v Speaker 1>and there was not really a cinematic dramatic structure, obvious

0:25:39.359 --> 0:25:42.560
<v Speaker 1>cinematic dramatic structure that pops out out of it. And

0:25:42.600 --> 0:25:46.440
<v Speaker 1>I think that Eric I had the genius to find

0:25:46.440 --> 0:25:48.760
<v Speaker 1>an arc, to create an arc out of it, and

0:25:49.080 --> 0:25:53.840
<v Speaker 1>to to something that I would had not been able

0:25:53.960 --> 0:25:59.480
<v Speaker 1>to do myself. But once that was done, I worked

0:25:59.480 --> 0:26:04.520
<v Speaker 1>with Eric uh specifically, I will see in on two things. First,

0:26:05.240 --> 0:26:07.800
<v Speaker 1>I wanted the language to be really at the center

0:26:07.920 --> 0:26:11.560
<v Speaker 1>of the story. And we worked together to to make

0:26:11.600 --> 0:26:15.119
<v Speaker 1>sure that the ending will even if it was different

0:26:15.160 --> 0:26:20.080
<v Speaker 1>then much different than the short story. To make sure

0:26:20.119 --> 0:26:25.399
<v Speaker 1>that the geopolitical resolution of the of the conflict of

0:26:25.400 --> 0:26:28.960
<v Speaker 1>the story will be a link with the language. And

0:26:29.040 --> 0:26:31.200
<v Speaker 1>that was very important for me, and that we work

0:26:31.320 --> 0:26:35.760
<v Speaker 1>hard too two achieve that together and here get the

0:26:35.840 --> 0:26:40.760
<v Speaker 1>great ideas. Um. Also I U there was something about

0:26:41.680 --> 0:26:48.120
<v Speaker 1>the two I tried to in phase UM, the intimacy

0:26:48.960 --> 0:26:53.639
<v Speaker 1>of Louis experience being in relationship with that this civilization

0:26:53.760 --> 0:26:56.800
<v Speaker 1>coming coming out of out of space. I tried to

0:26:57.040 --> 0:27:02.320
<v Speaker 1>uh train face that by changing the geography where that

0:27:02.480 --> 0:27:05.959
<v Speaker 1>the spaceship was landing at the beginning, it was like

0:27:06.600 --> 0:27:09.080
<v Speaker 1>very close by to the you. It was like a

0:27:09.080 --> 0:27:12.720
<v Speaker 1>little walking distance to to the camp. And I decided

0:27:12.760 --> 0:27:17.879
<v Speaker 1>to create space to to make make sure that for

0:27:17.960 --> 0:27:20.600
<v Speaker 1>the logic of it, because I felt that the military

0:27:20.640 --> 0:27:23.280
<v Speaker 1>will never put their their camp nearby the space ship,

0:27:23.320 --> 0:27:26.280
<v Speaker 1>but also to have time to create tension, to to

0:27:27.080 --> 0:27:29.280
<v Speaker 1>to make sure that I will be with her to

0:27:29.320 --> 0:27:33.920
<v Speaker 1>see the evolution of our tensure or fear apprehension. Um.

0:27:34.119 --> 0:27:36.159
<v Speaker 1>The wish, if to the wish will feel as a

0:27:36.520 --> 0:27:40.040
<v Speaker 1>as a school teacher being in a relationship with this

0:27:40.400 --> 0:27:44.119
<v Speaker 1>object coming out of space and our journey. Basically, I

0:27:45.280 --> 0:27:48.320
<v Speaker 1>we worked hard to make sure that we will the

0:27:48.359 --> 0:27:51.640
<v Speaker 1>story will be seen from the intimacy of Louis point

0:27:51.640 --> 0:27:54.520
<v Speaker 1>of view, that I worked hard on that. Yeah, and

0:27:54.560 --> 0:27:57.199
<v Speaker 1>that speaking of that's another tricky element here. I mean

0:27:57.240 --> 0:28:00.240
<v Speaker 1>Amy's performance is a bit of a tire rope because

0:28:00.280 --> 0:28:02.120
<v Speaker 1>so much of her journey is is in her head.

0:28:02.880 --> 0:28:07.520
<v Speaker 1>So it's really inwardly driven as opposed to outwardly driven,

0:28:08.520 --> 0:28:11.680
<v Speaker 1>which is difficult to pull off. So when you guys

0:28:11.680 --> 0:28:14.560
<v Speaker 1>started to you and Amy started to build this character,

0:28:14.680 --> 0:28:17.760
<v Speaker 1>what what kind of things did you talk about? The

0:28:17.840 --> 0:28:21.040
<v Speaker 1>thing is that in that regard Eric Screenpley was pretty

0:28:21.040 --> 0:28:25.320
<v Speaker 1>precise about where she was or she would have felt.

0:28:25.840 --> 0:28:32.000
<v Speaker 1>What were the the specific elements of our journey if

0:28:32.040 --> 0:28:33.679
<v Speaker 1>I can say, I don't know what makes sense in English?

0:28:34.560 --> 0:28:38.320
<v Speaker 1>And and so that for me, that the main point

0:28:38.320 --> 0:28:45.240
<v Speaker 1>with Amy was to make sure that, um, no, no

0:28:45.280 --> 0:28:47.640
<v Speaker 1>matter where we were in the in the story, we

0:28:47.680 --> 0:28:50.880
<v Speaker 1>will make sure that if someone was seeing the movie

0:28:50.920 --> 0:28:52.880
<v Speaker 1>at first, a second or third time, it will always

0:28:52.920 --> 0:28:55.760
<v Speaker 1>make sense. You know, when you experience the movie first

0:28:55.760 --> 0:29:00.280
<v Speaker 1>time you you it's I think intellectual challenge. When you

0:29:00.280 --> 0:29:02.920
<v Speaker 1>sit the second time and you knew the resolution, you

0:29:03.000 --> 0:29:05.120
<v Speaker 1>know what what is the movie is about, and you

0:29:05.160 --> 0:29:10.600
<v Speaker 1>know the plot points. Uh, then you can enjoy embrace

0:29:10.680 --> 0:29:13.680
<v Speaker 1>the genius of Emmy Adams because she was able to

0:29:14.640 --> 0:29:18.640
<v Speaker 1>act uh, and all those layers in the same time

0:29:18.680 --> 0:29:23.920
<v Speaker 1>to make sure that it will be logically so it

0:29:23.960 --> 0:29:28.840
<v Speaker 1>would be emotionally logic from from one viewing from the other.

0:29:28.880 --> 0:29:31.200
<v Speaker 1>It's it's what we talked about. So it was really

0:29:31.200 --> 0:29:34.640
<v Speaker 1>we made sure in each shot we were making that

0:29:36.160 --> 0:29:41.080
<v Speaker 1>where was she emotionally very precisely. That was like it's

0:29:41.080 --> 0:29:43.880
<v Speaker 1>a maybe of a borrowing answer, but it was not

0:29:43.960 --> 0:29:47.440
<v Speaker 1>easy to make for Amy, and and the movie owes

0:29:47.560 --> 0:29:50.840
<v Speaker 1>her everything. Yeah, yeah, absolutely and uh, but I must

0:29:50.880 --> 0:29:54.440
<v Speaker 1>say that from a emotional point view, the I would

0:29:54.440 --> 0:29:56.520
<v Speaker 1>say the mother's part was not easy. If you know,

0:29:56.640 --> 0:30:00.160
<v Speaker 1>it's not difficult for earth to imagine, you know, um,

0:30:00.560 --> 0:30:03.920
<v Speaker 1>the grief of a child is the most rrefecting and

0:30:04.040 --> 0:30:06.959
<v Speaker 1>and for her to relate to that was not It

0:30:07.000 --> 0:30:09.040
<v Speaker 1>was maybe difficult from an emotional point of view, but

0:30:09.200 --> 0:30:16.680
<v Speaker 1>not difficulty imagine. Um. The the challenge of the being

0:30:16.680 --> 0:30:19.800
<v Speaker 1>in contact with a civilization coming out of space that

0:30:20.640 --> 0:30:24.040
<v Speaker 1>was more playful for her. Yeah. Amy was one of

0:30:24.040 --> 0:30:26.719
<v Speaker 1>the first guests on my podcast. Actually we recorded and

0:30:26.760 --> 0:30:29.440
<v Speaker 1>I Tell You Right one of your favorite places that

0:30:29.480 --> 0:30:31.240
<v Speaker 1>you weren't able to attend this year, though, I'm sure

0:30:31.280 --> 0:30:34.200
<v Speaker 1>you were bummed out by that. Huh yes, because tell

0:30:34.360 --> 0:30:37.800
<v Speaker 1>Right from me is a devout that it's goes straight

0:30:37.840 --> 0:30:40.040
<v Speaker 1>to my heart because it's the only place almost where

0:30:40.080 --> 0:30:44.960
<v Speaker 1>you can actually be in relationships with other filmmakers. There's

0:30:44.960 --> 0:30:50.160
<v Speaker 1>no protocol, there's no praise praise edge, and there's no autourage.

0:30:50.400 --> 0:30:54.520
<v Speaker 1>There's no pressure, there's no it's it's just human beings,

0:30:55.080 --> 0:30:59.720
<v Speaker 1>artists together in reltionship with the audience. I honestly it's

0:30:59.760 --> 0:31:04.240
<v Speaker 1>my wo cinematic and unfortunately I was shooting in Europe,

0:31:04.280 --> 0:31:05.960
<v Speaker 1>so I was I wasn't able to be there with

0:31:06.040 --> 0:31:09.960
<v Speaker 1>you guys jealous. I think listeners probably get tired of

0:31:09.960 --> 0:31:13.120
<v Speaker 1>me hearing talking about tell You're Right, But it's it's true,

0:31:13.160 --> 0:31:15.200
<v Speaker 1>it's amazing. Last week I had Barry Jenkins on the

0:31:15.200 --> 0:31:17.680
<v Speaker 1>show the same thing, just you know, talking about tell

0:31:17.720 --> 0:31:20.760
<v Speaker 1>You Right for about five minutes. It's a great event.

0:31:20.840 --> 0:31:25.160
<v Speaker 1>Every year I want to talk about Bradford Young, your cinematographer,

0:31:25.200 --> 0:31:28.880
<v Speaker 1>who's amazing, and uh, but what's interesting is, you know,

0:31:28.880 --> 0:31:31.800
<v Speaker 1>I love Brad's work, but I don't think he was

0:31:31.840 --> 0:31:35.080
<v Speaker 1>necessarily obvious for this material. And I'm wondering. You know,

0:31:35.200 --> 0:31:37.360
<v Speaker 1>you've been working with Roger Deakins for a number of years,

0:31:38.240 --> 0:31:40.600
<v Speaker 1>so you know, whoever was going to be able to

0:31:40.600 --> 0:31:43.080
<v Speaker 1>tackle this had some big shoes to fill. I guess

0:31:43.160 --> 0:31:44.680
<v Speaker 1>it's the best way to put it. But why did

0:31:45.000 --> 0:31:49.200
<v Speaker 1>Brad seems so perfect for you? I think as Uh.

0:31:50.360 --> 0:31:55.040
<v Speaker 1>The truth is at the beginning that the Roger was

0:31:55.040 --> 0:31:59.120
<v Speaker 1>supposed to be part of the project, and for several reasons,

0:31:59.160 --> 0:32:02.760
<v Speaker 1>he was not avidly Bill at that moment, and so

0:32:02.840 --> 0:32:08.280
<v Speaker 1>I found myself an orphan without reference. And we all

0:32:08.320 --> 0:32:11.960
<v Speaker 1>know for a film directors, the reference the closest partner.

0:32:12.080 --> 0:32:16.959
<v Speaker 1>I mean, so I was looking for his specific qualities

0:32:17.040 --> 0:32:21.160
<v Speaker 1>and I looked at the animus, synographer, synographer reels that

0:32:21.240 --> 0:32:24.520
<v Speaker 1>I was. I started to to see who was around

0:32:24.800 --> 0:32:27.160
<v Speaker 1>and to say, okay, well, I was saying to myself

0:32:27.560 --> 0:32:32.960
<v Speaker 1>that not being able to to work with Roger, I

0:32:33.000 --> 0:32:37.960
<v Speaker 1>said to myself, it's an opportunity to to try to

0:32:37.960 --> 0:32:40.720
<v Speaker 1>to be in total different waters to try with some

0:32:40.880 --> 0:32:44.720
<v Speaker 1>an artist that has a total different sensibility and just

0:32:44.840 --> 0:32:50.280
<v Speaker 1>to inspire myself and to challenge myself. And I I

0:32:50.280 --> 0:32:53.640
<v Speaker 1>I saw and them Body Saint and The Most Violent Year,

0:32:53.720 --> 0:32:57.959
<v Speaker 1>and I was very impressed by his skills as a

0:32:57.960 --> 0:33:02.400
<v Speaker 1>as a camera operator, but also or that we more

0:33:02.400 --> 0:33:06.360
<v Speaker 1>more important that we was using natural light and that's

0:33:06.440 --> 0:33:10.560
<v Speaker 1>the strain that he was able to and the personality

0:33:10.560 --> 0:33:12.760
<v Speaker 1>and the sensuality that we was able to develop with

0:33:12.840 --> 0:33:18.280
<v Speaker 1>natural light. And we had a few conversations and I

0:33:18.320 --> 0:33:21.560
<v Speaker 1>just felt in love with the guy. Is humility is

0:33:21.600 --> 0:33:26.200
<v Speaker 1>that the weez listening is. And I was looking for

0:33:26.280 --> 0:33:30.120
<v Speaker 1>someone that would have the patient, the warmth that the

0:33:30.880 --> 0:33:33.400
<v Speaker 1>to be someone that would be very open to work

0:33:33.440 --> 0:33:37.600
<v Speaker 1>with kids that because I was trying to capture My

0:33:37.760 --> 0:33:40.960
<v Speaker 1>goal was to capture some something very delicate and specific

0:33:41.240 --> 0:33:44.960
<v Speaker 1>with the child, the children and and and UH and

0:33:45.080 --> 0:33:48.560
<v Speaker 1>instance and the Reford that will be very flexible also.

0:33:48.880 --> 0:33:54.160
<v Speaker 1>And I was also very excited by the idea of

0:33:54.160 --> 0:33:56.320
<v Speaker 1>working with someone that I had never had one sci

0:33:56.360 --> 0:33:59.480
<v Speaker 1>fi before and that will approach the movie that our

0:33:59.560 --> 0:34:02.480
<v Speaker 1>goal was to approach a movie not like a sci

0:34:02.520 --> 0:34:06.720
<v Speaker 1>fi movie, but more like UH intimate drama about a

0:34:06.800 --> 0:34:09.640
<v Speaker 1>woman who was dealing with the that of of of

0:34:09.680 --> 0:34:14.400
<v Speaker 1>our daughter, and to shoot it this way, as naturalistic

0:34:14.440 --> 0:34:19.880
<v Speaker 1>as possible, with a very specific atmospheric condition, to develop

0:34:19.960 --> 0:34:22.759
<v Speaker 1>exactly the light we were wanted to do. And and

0:34:24.440 --> 0:34:26.800
<v Speaker 1>I felt also that the Bradford is a very creative,

0:34:26.920 --> 0:34:29.880
<v Speaker 1>very it's a very very fresh voice. I love artists

0:34:29.880 --> 0:34:35.280
<v Speaker 1>that that are singular, that that are are There's nobody

0:34:35.360 --> 0:34:38.880
<v Speaker 1>like Bradford, And that's just that I was already for me.

0:34:38.880 --> 0:34:41.000
<v Speaker 1>It's a big quality. I like them to reform that

0:34:41.360 --> 0:34:44.560
<v Speaker 1>strong personalities and and and then are flexible in the

0:34:44.560 --> 0:34:46.399
<v Speaker 1>same time, so that that's why I mean, I would

0:34:46.400 --> 0:34:49.560
<v Speaker 1>say what I worked with him? Did you guys? Uh? Like,

0:34:49.640 --> 0:34:52.440
<v Speaker 1>do you put together look books? I'm just like the

0:34:52.520 --> 0:34:55.319
<v Speaker 1>look of the film? What what inspired you was their photography?

0:34:55.480 --> 0:34:58.280
<v Speaker 1>Was their artwork and not you know, I know filmmakers

0:34:58.320 --> 0:35:00.520
<v Speaker 1>hate to talk in those terms because it makes it

0:35:00.560 --> 0:35:02.520
<v Speaker 1>sound like what you've done is derivative, but that's not true.

0:35:02.560 --> 0:35:05.160
<v Speaker 1>I mean, I'm just curious what inspired you visually? Me?

0:35:05.280 --> 0:35:09.359
<v Speaker 1>It was like really uh for me, it was that

0:35:09.520 --> 0:35:15.839
<v Speaker 1>light of August, that summer August, the humidity in the atmosphere.

0:35:17.280 --> 0:35:20.960
<v Speaker 1>I was saying to Bradford, human, remember school rights when

0:35:21.000 --> 0:35:24.280
<v Speaker 1>you were young, and it was like a bad Tuesday

0:35:24.280 --> 0:35:26.919
<v Speaker 1>morning rainy borrowing. Everybody was bored to death. But there's

0:35:26.960 --> 0:35:29.759
<v Speaker 1>a kind of joint and happiness and that beauty of

0:35:29.760 --> 0:35:31.799
<v Speaker 1>the rain. I'm gonna it's like today. Yeah, I like

0:35:31.880 --> 0:35:35.960
<v Speaker 1>today exactly, but me it's it's it's I know it.

0:35:36.200 --> 0:35:41.680
<v Speaker 1>It's a it's a without being too much going to

0:35:41.680 --> 0:35:43.759
<v Speaker 1>watch personally. Maybe it's it's coming from the fact that

0:35:43.800 --> 0:35:45.919
<v Speaker 1>those were my favorite daste when I was young, because

0:35:46.160 --> 0:35:49.080
<v Speaker 1>the day I was allowed to to to read that

0:35:49.120 --> 0:35:51.240
<v Speaker 1>I'm going to work outside or to go to school,

0:35:51.239 --> 0:35:56.000
<v Speaker 1>I mean just to read read, read and and reading

0:35:56.000 --> 0:35:58.960
<v Speaker 1>sci fi and so no more seriously that this this

0:36:00.719 --> 0:36:03.560
<v Speaker 1>um kind of light I was looking for. That meme

0:36:03.680 --> 0:36:07.399
<v Speaker 1>was really something very specific that that Bradford was able

0:36:07.400 --> 0:36:13.880
<v Speaker 1>to capture. Um had the references Bradford, I will I

0:36:13.880 --> 0:36:17.200
<v Speaker 1>will sound stupid because there's I just don't remember the

0:36:17.280 --> 0:36:21.640
<v Speaker 1>name of that photographer that Bradford was came with at

0:36:21.640 --> 0:36:24.719
<v Speaker 1>that moment. I will remember it later, but I will

0:36:24.719 --> 0:36:28.360
<v Speaker 1>send you that. Sure, he's often inspired by by photographer

0:36:28.360 --> 0:36:33.520
<v Speaker 1>stuff imagined that when I don't SuperStor something like that.

0:36:33.760 --> 0:36:40.960
<v Speaker 1>I apologize, I will remember, um, but um. It was

0:36:42.480 --> 0:36:46.480
<v Speaker 1>very often my projects are inspired so inspired by a

0:36:46.520 --> 0:36:50.200
<v Speaker 1>painter or by a specific photographer. For this one, it

0:36:50.360 --> 0:36:56.480
<v Speaker 1>was very inspired by, as I said, by personal references,

0:36:56.600 --> 0:37:00.400
<v Speaker 1>personally personal nostalgia. Yeah, personal nostalgia and and and and

0:37:01.040 --> 0:37:04.440
<v Speaker 1>personal references that we were sharing together Bradford and I.

0:37:05.400 --> 0:37:08.120
<v Speaker 1>So I must say, strangely, it's a project that I

0:37:08.200 --> 0:37:15.920
<v Speaker 1>did without a visual reference. From the start. Bradford did

0:37:15.960 --> 0:37:20.359
<v Speaker 1>a lot of tests took I never saw us an

0:37:20.440 --> 0:37:24.920
<v Speaker 1>refer doing that amount of test, testing lenses, testing different

0:37:25.120 --> 0:37:29.440
<v Speaker 1>ways of lighting too, so we were exploring before in prep.

0:37:29.480 --> 0:37:31.680
<v Speaker 1>We we did tons of those tests to find the

0:37:31.760 --> 0:37:33.960
<v Speaker 1>right look for the film. So there was no real

0:37:34.080 --> 0:37:38.359
<v Speaker 1>reference for me. But usually my when I'm doing a movie,

0:37:39.719 --> 0:37:43.799
<v Speaker 1>and I always love to create a kind of as

0:37:43.800 --> 0:37:45.960
<v Speaker 1>you said, the look books as I put on my walls,

0:37:47.000 --> 0:37:51.799
<v Speaker 1>photographs are of artists or references that will be a

0:37:51.840 --> 0:37:59.080
<v Speaker 1>guideline for arrival. It was totally intuitive we started it.

0:37:59.239 --> 0:38:02.360
<v Speaker 1>It was that in in in that regard, it was

0:38:02.480 --> 0:38:04.239
<v Speaker 1>very singular for me to work like that. I ever

0:38:04.280 --> 0:38:07.080
<v Speaker 1>worked like that before, just to go with pure intuition

0:38:07.120 --> 0:38:11.440
<v Speaker 1>without any references interesting. Um, are you committed? Are you

0:38:11.480 --> 0:38:14.960
<v Speaker 1>like fully committed to digital and the Alexa cameras? And

0:38:15.200 --> 0:38:17.720
<v Speaker 1>I'm sure part of that had to do with Roger

0:38:19.080 --> 0:38:23.080
<v Speaker 1>and his preferences. Why are you saying yes, no, no, no, no, no,

0:38:23.280 --> 0:38:27.440
<v Speaker 1>not at all? I I, UM, I don't see that

0:38:28.960 --> 0:38:33.640
<v Speaker 1>the digital world obviously as an enemy. I'm I really

0:38:33.680 --> 0:38:39.400
<v Speaker 1>loved before the Alex. I didn't like the digital cameras,

0:38:39.920 --> 0:38:42.560
<v Speaker 1>but when I started to work with Alex, I felt

0:38:42.719 --> 0:38:45.440
<v Speaker 1>you need a strong silo refer beyond the camera. But

0:38:45.680 --> 0:38:48.160
<v Speaker 1>there's are images that are possible to do with the

0:38:48.160 --> 0:38:53.120
<v Speaker 1>Alexa that are quite stunning and and impressive, and that

0:38:53.480 --> 0:38:56.440
<v Speaker 1>all the sense so as soity required. It is not

0:38:56.560 --> 0:39:01.600
<v Speaker 1>thirty five millimeters for me. It's a different kind of medium.

0:39:01.640 --> 0:39:05.000
<v Speaker 1>I love both. Hirty five is thirty five. I mean,

0:39:05.200 --> 0:39:09.319
<v Speaker 1>I have I hope I will work with thirty five

0:39:09.640 --> 0:39:13.200
<v Speaker 1>again one day, But I'm feeling that there's like sometimes

0:39:13.200 --> 0:39:16.680
<v Speaker 1>a strong advantage to work on with the Alexa. Well.

0:39:16.719 --> 0:39:18.920
<v Speaker 1>I mean, you see the images coming back from certainly

0:39:18.960 --> 0:39:22.160
<v Speaker 1>from Arrival and in your other films, but Blade Runner Man,

0:39:22.520 --> 0:39:26.640
<v Speaker 1>that trailer looked amazing. Some of Roger's best work. I

0:39:26.640 --> 0:39:31.160
<v Speaker 1>think that I've been witnessing what he'd done for a

0:39:31.200 --> 0:39:36.160
<v Speaker 1>month of work. I think it's will be Roger Deakins's

0:39:36.200 --> 0:39:39.719
<v Speaker 1>best work. It was very impressive. I think he was

0:39:39.760 --> 0:39:46.080
<v Speaker 1>deeply inspired by the project and uh, yeah, it's quite impressive. Yeah.

0:39:46.080 --> 0:39:48.239
<v Speaker 1>I think one one of the exciting things for me

0:39:48.280 --> 0:39:49.920
<v Speaker 1>when I heard that you were attached to that project

0:39:50.000 --> 0:39:51.759
<v Speaker 1>was I knew that meant that Roger would becoming all

0:39:52.160 --> 0:39:53.959
<v Speaker 1>you know, so I was just like, oh, this could

0:39:53.960 --> 0:39:56.840
<v Speaker 1>be good. Uh and you know, speaking of filling big shoes,

0:39:56.880 --> 0:40:00.879
<v Speaker 1>I mean, I guess take some balls to take on project, right,

0:40:00.920 --> 0:40:04.239
<v Speaker 1>I mean, did you feel that kind of daunting thing?

0:40:04.600 --> 0:40:11.000
<v Speaker 1>I feel it every day still. Yeah. Yeah, in the

0:40:11.080 --> 0:40:16.560
<v Speaker 1>same time, I never had I was never I've never

0:40:16.880 --> 0:40:21.759
<v Speaker 1>had been that inspired and excited. And it's difficult to

0:40:21.800 --> 0:40:24.480
<v Speaker 1>talk about it because obviously I'm still I'm just in

0:40:24.520 --> 0:40:26.719
<v Speaker 1>the middle of it and the editing room right now.

0:40:26.760 --> 0:40:29.520
<v Speaker 1>So it's I don't talk about projects where they are

0:40:29.520 --> 0:40:32.440
<v Speaker 1>not finished, but I can say, yes, yes, it's a

0:40:32.640 --> 0:40:37.919
<v Speaker 1>it's a big pressure. But I love risk. I all

0:40:38.000 --> 0:40:41.759
<v Speaker 1>my projects in my life, specifically the last ones I

0:40:41.760 --> 0:40:45.600
<v Speaker 1>had been related with a certain amount of artistic risk

0:40:45.840 --> 0:40:50.759
<v Speaker 1>or sometimes some risk regarding how your portrait reality. You know,

0:40:51.520 --> 0:40:54.280
<v Speaker 1>like I did want a movie about a school massacre,

0:40:54.800 --> 0:41:00.600
<v Speaker 1>I had a huge responsibility ah with the regarding the

0:41:00.680 --> 0:41:04.000
<v Speaker 1>victims of those events. That that was a huge responsibility.

0:41:04.080 --> 0:41:08.520
<v Speaker 1>I did a movie about conflicting in Lebanon, so it's

0:41:08.560 --> 0:41:11.840
<v Speaker 1>like that again, you have a strong responsibility with reality.

0:41:12.280 --> 0:41:15.839
<v Speaker 1>When I did Secario, I felt I was responsible. How

0:41:15.880 --> 0:41:19.000
<v Speaker 1>I will partray the Mexican society there and say so

0:41:19.160 --> 0:41:23.520
<v Speaker 1>that I'm used to have pressure for bul runners, artistic

0:41:23.800 --> 0:41:27.920
<v Speaker 1>pressure and by far the biggest ever amen and that

0:41:28.239 --> 0:41:30.640
<v Speaker 1>will be by far the It's the most risky project

0:41:30.680 --> 0:41:32.680
<v Speaker 1>of my life and it will be the most I

0:41:32.719 --> 0:41:39.680
<v Speaker 1>think coming out of it. There is also it created

0:41:39.719 --> 0:41:43.600
<v Speaker 1>a lot of, honestly a deep excitement to work in that.

0:41:43.880 --> 0:41:46.760
<v Speaker 1>I'm sure that fuels you as well. And I respect

0:41:46.880 --> 0:41:50.160
<v Speaker 1>you don't talk about projects, but I do have one question,

0:41:50.200 --> 0:41:52.799
<v Speaker 1>and you can talk generally if it's easier. But I

0:41:52.840 --> 0:41:55.480
<v Speaker 1>tried to get Johanna to speak to this, but your

0:41:55.520 --> 0:41:58.840
<v Speaker 1>your composer, Johann Johansen, what what kind of ideas do

0:41:58.880 --> 0:42:01.359
<v Speaker 1>you have for music and that world? Because simply I asked,

0:42:01.360 --> 0:42:03.719
<v Speaker 1>simply because the evangelous stuff is so iconic I don't

0:42:03.760 --> 0:42:06.960
<v Speaker 1>of itself, so any any comment you can, but that's

0:42:07.000 --> 0:42:11.560
<v Speaker 1>really because we are right now that But definitely I

0:42:11.600 --> 0:42:15.680
<v Speaker 1>will say that one of the elements, one of the

0:42:15.719 --> 0:42:18.399
<v Speaker 1>elements that is so iconic and the runners a sound

0:42:18.400 --> 0:42:24.520
<v Speaker 1>design and of course Vangelist music, and it's something that

0:42:26.680 --> 0:42:29.040
<v Speaker 1>I think, like the movie we are doing, we will

0:42:29.120 --> 0:42:34.200
<v Speaker 1>need to find our own identity and territory and in

0:42:34.280 --> 0:42:38.600
<v Speaker 1>the same time being faithful and and linked to the

0:42:38.640 --> 0:42:41.120
<v Speaker 1>first project. It's like that equibrium that we are trying

0:42:41.120 --> 0:42:44.560
<v Speaker 1>to find on all the So it would be the

0:42:44.560 --> 0:42:46.880
<v Speaker 1>same with the music. Yeah, and a movie like that

0:42:46.960 --> 0:42:50.080
<v Speaker 1>kind of makes me think about practical effects versus c

0:42:50.239 --> 0:42:52.080
<v Speaker 1>g I, And I'm just curious just in general what

0:42:52.160 --> 0:42:55.120
<v Speaker 1>your philosophy is when it comes to that. Me, I'm

0:42:55.239 --> 0:42:57.480
<v Speaker 1>very old school. Yeah, I mean, I wish I have

0:42:57.719 --> 0:43:02.680
<v Speaker 1>had a chance to do my aliens as animatronics. That

0:43:02.760 --> 0:43:04.560
<v Speaker 1>was my dream at the beginning with Bradford, we were

0:43:04.640 --> 0:43:07.680
<v Speaker 1>dreaming to put them in a gigantic aquarium with gigantic

0:43:07.719 --> 0:43:11.960
<v Speaker 1>bees that will be moved by puppeteers. But sadly it

0:43:11.960 --> 0:43:19.280
<v Speaker 1>would have been too expensive. And so I hate green screens.

0:43:20.440 --> 0:43:22.840
<v Speaker 1>I hate pre screens. It's just it's colors that suck

0:43:22.840 --> 0:43:26.319
<v Speaker 1>out all my energy. I get me depressed when I'm

0:43:26.360 --> 0:43:31.239
<v Speaker 1>a relationship with It's like I have I don't know.

0:43:31.560 --> 0:43:34.359
<v Speaker 1>I have an admiration for directors that can work with

0:43:34.400 --> 0:43:39.319
<v Speaker 1>that and the they they bases me. I tried to

0:43:39.360 --> 0:43:42.640
<v Speaker 1>avoid it as much as possible, to do as much

0:43:42.680 --> 0:43:46.040
<v Speaker 1>practical effects as possible, like for instance, and on the

0:43:46.160 --> 0:43:50.680
<v Speaker 1>arrival we had we did build the whold room, the road,

0:43:50.760 --> 0:43:53.840
<v Speaker 1>the old chamber of the spaceship with the corridor we

0:43:53.840 --> 0:43:57.440
<v Speaker 1>we there was like that gigantic screen with shadows behind h.

0:43:57.760 --> 0:44:00.200
<v Speaker 1>I really and why because it's I think it's ten

0:44:00.200 --> 0:44:03.640
<v Speaker 1>thousand times easier for actors, specifically when they have to

0:44:03.640 --> 0:44:07.200
<v Speaker 1>deal with something that is linked with imaginary, that has

0:44:07.280 --> 0:44:11.920
<v Speaker 1>no relationship with reality. And it also was much more

0:44:11.920 --> 0:44:14.759
<v Speaker 1>easier for Bradford Young because he had he knew what

0:44:14.840 --> 0:44:17.440
<v Speaker 1>he was lifting and out lit it and where it

0:44:17.560 --> 0:44:20.279
<v Speaker 1>was coming from and then pact on the walls. And

0:44:20.480 --> 0:44:22.960
<v Speaker 1>and for me too because we found tons of shots

0:44:23.080 --> 0:44:28.000
<v Speaker 1>because we were um in a real room, you know.

0:44:28.680 --> 0:44:30.680
<v Speaker 1>And it was the same for a blade Runner. We

0:44:31.360 --> 0:44:34.400
<v Speaker 1>try our best to do as much as possible on camera,

0:44:34.800 --> 0:44:40.080
<v Speaker 1>building everything, uh and Roger was insane impressive and and

0:44:40.239 --> 0:44:44.800
<v Speaker 1>how he was able to recreate landscape with tricks I

0:44:45.000 --> 0:44:49.719
<v Speaker 1>was for me, it was beautiful because yeah, a lot,

0:44:51.320 --> 0:44:53.040
<v Speaker 1>I think I can come to the finger of my

0:44:54.040 --> 0:44:56.040
<v Speaker 1>on my fingers on my end. How many times I

0:44:56.120 --> 0:44:59.960
<v Speaker 1>saw a green screen on all those months of shoot

0:45:00.000 --> 0:45:03.120
<v Speaker 1>thing and almost most of that time there was no

0:45:04.239 --> 0:45:05.920
<v Speaker 1>It was all done on camera. They will be c

0:45:06.080 --> 0:45:10.040
<v Speaker 1>g and smens, of course, because I think, but as

0:45:10.160 --> 0:45:11.759
<v Speaker 1>much as possible, and I think that will make a

0:45:11.760 --> 0:45:14.839
<v Speaker 1>lot of people happy. Uh. Last question here, and if

0:45:14.920 --> 0:45:18.279
<v Speaker 1>if you are reticent to talk about projects you're working on,

0:45:18.400 --> 0:45:20.960
<v Speaker 1>I imagine projects that are in the future even more so.

0:45:21.440 --> 0:45:24.720
<v Speaker 1>But regarding the news that you will be directing Dune,

0:45:25.360 --> 0:45:29.280
<v Speaker 1>the thing is that I was able to do Blade

0:45:29.400 --> 0:45:33.360
<v Speaker 1>Runner thinking that I would do nothing after because I

0:45:33.560 --> 0:45:36.880
<v Speaker 1>was out of a secary arrival and and there was

0:45:37.000 --> 0:45:38.880
<v Speaker 1>like a rhythm in the past years that was like

0:45:39.280 --> 0:45:43.560
<v Speaker 1>very exciting. I learned a lot as a filmmaker, but

0:45:43.719 --> 0:45:47.360
<v Speaker 1>I I got slowly a bit a bit more and

0:45:47.440 --> 0:45:50.719
<v Speaker 1>more tired physically. And as I was doing Blade, which

0:45:50.800 --> 0:45:55.600
<v Speaker 1>was like a very very long shoot, ah, I knew

0:45:55.680 --> 0:45:59.000
<v Speaker 1>that I remember thinking that that might be my last

0:45:59.040 --> 0:46:01.799
<v Speaker 1>movie that that after I'm going to bed for three

0:46:01.880 --> 0:46:04.960
<v Speaker 1>years after I'm like, now that i'm editing, I'm finding

0:46:05.000 --> 0:46:08.080
<v Speaker 1>back my energy. And the thing is that since I'm

0:46:08.280 --> 0:46:12.760
<v Speaker 1>twelve years old, there's a book that I read twelve

0:46:12.880 --> 0:46:16.320
<v Speaker 1>or thirteen members not important, but which is like June

0:46:16.600 --> 0:46:22.239
<v Speaker 1>that it's my my favorite book. I think it's um

0:46:22.680 --> 0:46:28.040
<v Speaker 1>and I am after Prisoners. The producer asked of ALcom,

0:46:28.080 --> 0:46:30.000
<v Speaker 1>asked me what you would like to do next? And

0:46:30.080 --> 0:46:33.600
<v Speaker 1>I said June spontaneously, if ever someone can get me

0:46:33.680 --> 0:46:36.239
<v Speaker 1>the rights for June. And I was and I knew

0:46:36.320 --> 0:46:39.040
<v Speaker 1>that it was very difficult to get those rights, and

0:46:39.520 --> 0:46:41.200
<v Speaker 1>it for me, it was just a dream. That's something

0:46:41.280 --> 0:46:46.800
<v Speaker 1>that I like. I I guess I'm lucky because it

0:46:47.040 --> 0:46:51.759
<v Speaker 1>happened that the right Maria from legendericat the right and

0:46:51.840 --> 0:46:57.000
<v Speaker 1>offer me, and I can't know to it's my and

0:46:57.239 --> 0:47:00.320
<v Speaker 1>and I have images that are haunted by it's a

0:47:02.000 --> 0:47:04.080
<v Speaker 1>thirty five years or something like that. I will not

0:47:04.160 --> 0:47:07.360
<v Speaker 1>say not to that. No, Yeah, that's awesome. Is that

0:47:07.520 --> 0:47:10.000
<v Speaker 1>the kind of thing? I mean? Do you perceive that

0:47:10.440 --> 0:47:14.239
<v Speaker 1>world as one that reaches beyond one movie? And you're

0:47:14.400 --> 0:47:17.920
<v Speaker 1>getting pressure maybe too franchise something like that, or it's

0:47:18.239 --> 0:47:20.520
<v Speaker 1>far too early to talk about it. It's very early

0:47:20.560 --> 0:47:22.120
<v Speaker 1>to talk to give you an easier no, no no,

0:47:22.280 --> 0:47:25.200
<v Speaker 1>because it's it's a it's an honestly, there's it's we

0:47:25.280 --> 0:47:28.319
<v Speaker 1>are at ground zero right now. There's nothing done. There's

0:47:28.360 --> 0:47:32.279
<v Speaker 1>like it's just the birth of the talk. But that's

0:47:32.320 --> 0:47:35.560
<v Speaker 1>going to be again a massive challenge, but the project

0:47:35.640 --> 0:47:38.239
<v Speaker 1>of my life. Definitely awesome. Good luck with it and

0:47:38.520 --> 0:47:44.479
<v Speaker 1>congratulations again on arrival. Eight nominations. I think, uh, sad

0:47:44.560 --> 0:47:46.959
<v Speaker 1>that Amy could not be one of them. Very sad

0:47:47.040 --> 0:47:50.279
<v Speaker 1>because if I grant, I took progranted that this one

0:47:50.320 --> 0:47:54.160
<v Speaker 1>would be a given because everybody was we're so impressed

0:47:54.200 --> 0:47:57.320
<v Speaker 1>by what she did and I she was my music

0:47:57.600 --> 0:48:00.520
<v Speaker 1>or everything. She she's arrival, She's done one that made

0:48:00.560 --> 0:48:03.279
<v Speaker 1>it happen. So I was very sad. Yes I be

0:48:03.400 --> 0:48:07.080
<v Speaker 1>for my crew, but sade for you. Indeed. Well, congratulations

0:48:07.120 --> 0:48:08.719
<v Speaker 1>again and then good luck on the circuit and just

0:48:08.800 --> 0:48:10.480
<v Speaker 1>soak it all in, man keep working, but soak it

0:48:10.520 --> 0:48:22.160
<v Speaker 1>all in. Right. Thanks for listening everyone, Remember to subscribe

0:48:22.200 --> 0:48:23.840
<v Speaker 1>and check back next week when I'll be talking to

0:48:24.160 --> 0:48:27.359
<v Speaker 1>Manchester by the Sea writer and director Kenneth Lonergan you've

0:48:27.400 --> 0:48:29.239
<v Speaker 1>been listening to playback at right