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Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.

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Speaker 1: The Tribeca Film Festival is one of my favorite events

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Speaker 1: of the year. It's an opportunity to watch movies and

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Speaker 1: to hear from some of the finest directors and actors

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Speaker 1: in the business discussing their work. The festival has just

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Speaker 1: launched a new podcast, Tribeca Talks, which will allow all

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Speaker 1: of us to listen in to the conversations that happen

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Speaker 1: each year at Rebecca. Last year, I was lucky enough

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Speaker 1: to sit down with director Guillermo Del Toro, and I'm

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Speaker 1: pleased to present that conversation to my Here's the Thing audience,

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Speaker 1: take a listen to Rebecca Film Festival's new podcast, Tribeca Talks.

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Speaker 1: This is Tribeca Talks, our favorite conversations recorded live at

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Speaker 1: the Tribeca Film Festival. I'm le SRB. Academy Award winning

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Speaker 1: director Guillermo del Toro sat down with acclaimed actor Alec

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Speaker 1: Baldwin as part of our twenty nineteen Director See These.

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Speaker 1: Here's Tribeca CEO and co founder Jane Rosenthal with the introduction.

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Speaker 1: It's my great honor tonight to introduce to you too.

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Speaker 1: Amazing Cinophiles who are both masters at their craft. Giamma

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Speaker 1: del Toro, as you know and many of you are

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Speaker 1: fans of his work from Crimson Peak, Pacific, rim Hell

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Speaker 1: Boy Pants, lambre Laid to Devil's Backbone, Chronos, and of

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Speaker 1: course the Academy Award winning The Shape of Water. Joining

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Speaker 1: him in conversation is a great friend of Tribeca and

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Speaker 1: extraordinary actor producer, someone who I personally had the privilege

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Speaker 1: of of watching him work up close when de Niro

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Speaker 1: directed him in The Good Shepherd. Lately, the two have

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Speaker 1: been collaborating on S and L in case you haven't

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Speaker 1: seen that anyway, Ladies and gentlemen, please welcome Alec Baldwin

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Speaker 1: and Gialla del Toro. M If I break the chair,

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Speaker 1: which has happened, please help me get up. I was

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Speaker 1: gonna say, if I break the chair which has happened,

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Speaker 1: don't help me up. I'm gonna lay here and take

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Speaker 1: a nap. You know. It happened then online television h

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Speaker 1: until I came in with a three old time Alice

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Speaker 1: and I said in the pool horrible and it's kind

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Speaker 1: of flimsy. Well, um, it was amazing. Who's that guy

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Speaker 1: with Marvin Davis was a guy. He was a big guy.

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Speaker 1: And I came to an event once. It was some

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Speaker 1: big fundraiser at the Beverly Hills Hotel years ago, and

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Speaker 1: these guys came in with a big chair like a throne.

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Speaker 1: It was this massive wooden carved chair with ornate faver

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Speaker 1: I said, what's this. This is Mr Davis chair that

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Speaker 1: he travels with everywhere. And they put the chair there

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Speaker 1: at the table and he sat down, and I thought, man,

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Speaker 1: that sounds like a great idea. I should have my

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Speaker 1: own share. People carry around from it and believe it

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Speaker 1: or not, is the first thing I look at because

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Speaker 1: sometimes I don't fit them. I fit like a muffin,

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Speaker 1: kind of like spilling. There's when I come to the

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Speaker 1: edge of my kids aren't because they would put butter

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Speaker 1: on you and eat you, right they I'm a good

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Speaker 1: guy to travel for the and that plane. Now, now,

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Speaker 1: speaking of affording your own chair, I think that you

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Speaker 1: know your career is going so miserably lately. It's just

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Speaker 1: so terrible what's been happening for you, and that maybe

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Speaker 1: you can't afford your own chair it. I want to

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Speaker 1: go back with you, and I want to go back

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Speaker 1: because I was so ignorant about film education and how

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Speaker 1: you begin a career like yours. And and apparently you

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Speaker 1: took this with your father's Super eight camera when you

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Speaker 1: were child, Right now I was. I was about eight,

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Speaker 1: and my dad I used to get like he had

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Speaker 1: a car dealership and sometimes people gave him technology as payment.

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Speaker 1: This is Mexican the sixties and this you know, and

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Speaker 1: and they gave him this camera and this projector. And

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Speaker 1: I didn't know anything, but I started buying Super eight reels.

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Speaker 1: They would condense a movie into one reel. So I

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Speaker 1: bought the Crimson Altar with Boris Karlov, and I bought

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Speaker 1: Night of the Demon, and I was projecting them and

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Speaker 1: then I said what is the camera from? They said,

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Speaker 1: that's what you make movies with. And before that I

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Speaker 1: thought movies were something that happened and and somebody was

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Speaker 1: there to record it something. Yeah, but they were things

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Speaker 1: that happened. The people so just left on the look

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Speaker 1: that Johan reptile destroying the city. And and and I

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Speaker 1: started shooting. I started shooting those super aids. And where

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Speaker 1: would you get the films? Like? What was the marketing? In?

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Speaker 1: No Internet? They came in cartridges. And then you took

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Speaker 1: that cartridge to the pharmacy and you deposited in the

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Speaker 1: pharmacy and they said come back in seven days and

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Speaker 1: they would send it to Mexico City. I lived in Wallahara,

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Speaker 1: which is the second We were like an and and

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Speaker 1: and they sent it on seven days later it came.

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Speaker 1: And I tell you this, the the greatest drill I've

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Speaker 1: ever had was the day I projected that first real

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Speaker 1: because there was displacement I I said, I did, Dad,

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Speaker 1: that is in the screen where I see the Crimson

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Speaker 1: altar and I don't. And there was a magical moment.

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Speaker 1: There's a there's a great story by Harlan Ellison called

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Speaker 1: The Cheese stands Alone, and it's like that goes to

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Speaker 1: a little antique shop and a guys tells him what

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Speaker 1: is He says, what isn't that little box? And he says,

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Speaker 1: if you open it, you'll know you'll relieve your greatest moment.

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Speaker 1: If I'll be there years from now, or it may

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Speaker 1: have already happened, I think that's my greatest moment. And

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Speaker 1: he opens it and it's a home run. When he's

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Speaker 1: seven and he knows now that he'll never never and

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Speaker 1: that that rejecting of that super But but no cutting,

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Speaker 1: no editing. You had to shoot you like Hitchcock with rope.

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Speaker 1: You exactly one shot. That's what I was thinking. Yeah right, No,

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Speaker 1: I was. I was just shooting my my toys and

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Speaker 1: my actual toys killing each other. And I would throw

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Speaker 1: I would make a plastics and guy fill it with

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Speaker 1: ketchup and we'll do the roof and throw it and

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Speaker 1: it would explode on the when when I was, when

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Speaker 1: I was a kid, when my my neighbors had a camera,

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Speaker 1: we were little boys, and one of them used to

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Speaker 1: subscribe to it. I'm sure you remember this, because if

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Speaker 1: you're famous, Monster is a film land magazine, and you

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Speaker 1: could get the creature of the black lagoon hands and

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Speaker 1: the head and everything. Yeah, I'm sure you did. I'm

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Speaker 1: sure you had every one of them in here. No, No,

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Speaker 1: I saved enough. I have the gorilla hands and the

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Speaker 1: wolfman mask, which was not entirely accurate, but it worked.

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Speaker 1: And then I bought you were mingling the species even

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Speaker 1: and I had I I bought the gorilla feet, which

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Speaker 1: made no sense, but they looked good, but I love them.

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Speaker 1: They were done by don't don't post who was a

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Speaker 1: great mask maker. But that in Famous Monsters and Mad

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Speaker 1: Magazine is where I learned English, with a dictionary on

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Speaker 1: the side and and watching in Sundays they would show

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Speaker 1: Universal monster movies and I would listen to what they

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Speaker 1: said and read the subtitles. And that's how I started.

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Speaker 1: At seven, I was fluent in English thanks to Famous Monsters,

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Speaker 1: Famous Monsters of Film Laine magazine. We would do these

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Speaker 1: things in my and I would have the dracula drag

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Speaker 1: on and the fangs, and of course it was silent.

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Speaker 1: There was no sound and there was no cuttings. You

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Speaker 1: see me holding the woman, which is like the girl

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Speaker 1: who lived next door. She was like, you know, seven

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Speaker 1: years old. And you see my friend like off camera,

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Speaker 1: he's only bite around the neck because you see me

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Speaker 1: go what and he's like, bide around. I'm like, oh,

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Speaker 1: we ah. You know, if you guys go to Google

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Speaker 1: and google for a moment, there's a photo of me

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Speaker 1: with fangs and eyes drinking my sister's blood. And you

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Speaker 1: remember the fires in California and recently my entire I

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Speaker 1: have a collection of strange crap and it's two houses

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Speaker 1: a strange crap with secret passages and the fires came

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Speaker 1: very very close, and I escaped and the next day

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Speaker 1: I came back and I picked up that photograph. This

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Speaker 1: is what I want to say everyone to say. So

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Speaker 1: when you started, uh, and you were a kid, did

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Speaker 1: you Uh? You're doing this and you're experimenting, and of

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Speaker 1: course you enjoy it, which I guess it's the one

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Speaker 1: foundation of directing is you have to enjoy directing so

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Speaker 1: hard and it's such a difficult and require so much patients.

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Speaker 1: But when did you start to seriously right when you

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Speaker 1: sort of write down? I already was right when I

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Speaker 1: started the Super Eights. I was writing short horror stories,

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Speaker 1: not very good, and recording them on a cassette. I

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Speaker 1: would record a radio play because I was born in

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Speaker 1: sixty four, so I when TV ended around nine thirty

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Speaker 1: o'clock at night, we would lay on the on the

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Speaker 1: kitchen and listen to radio novellas. You know. We would

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Speaker 1: listen to radio plays. And there was one called the

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Speaker 1: Turn Off the Light and listen, and there was another

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Speaker 1: one called the Mad Monk, and this and that, and

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Speaker 1: I would listen to this horror stories. So I said,

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Speaker 1: I'm gonna write them and make them in little cassettes.

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Speaker 1: And you know what happened is as a kid, I

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Speaker 1: wanted to be this was my definition of her career.

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Speaker 1: I wanted to be a marine biologist that lived by

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Speaker 1: the sea, studied, studied the creatures of the sea, and

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Speaker 1: wrote horror stories. And I when I found directly and

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Speaker 1: said that tops it. It's better. I'm gonna do that.

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Speaker 1: But but I started. I remember trying to emulate styles

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Speaker 1: when I was a kid. Well, and it's always had

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Speaker 1: this dichotomy. For English. I was fascinated when I was

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Speaker 1: young by the precise adjectives that Bradbury would use no

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Speaker 1: as a young reader. And in Spanish, for me, the

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Speaker 1: two guys that captured the language in a way that

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Speaker 1: is musical for me is one root for and Hogel

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Speaker 1: Louis Borgez, where both they were tremendous when I was

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Speaker 1: a kid, a big influence. But it's it took me

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Speaker 1: so many years. When I write a screenplay in English.

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Speaker 1: The thing that I be labored the most, and I

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Speaker 1: think I finally got it right on Ship of Water

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Speaker 1: was dialogue. Other than that, I finally you've got it rhinally, Yeah,

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Speaker 1: because it's it's very it's very it's very it's very difficult.

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Speaker 1: I understand. When I was writing Ship but Water, I

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Speaker 1: was watching this beautiful documentary Salesman, which is in the

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Speaker 1: sixties Bible sales I'm going to door to door because

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Speaker 1: I wanted to get the rhythm of the language back then.

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Speaker 1: And it's it's really it's music. And English is very percussive,

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Speaker 1: and Spanish is very melodic. We say ten words and

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Speaker 1: you guys say two or three. You know, we we

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Speaker 1: say my wife or my wife is so stain and

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Speaker 1: it could be very percussive to some that's like work

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Speaker 1: for I'm afraid that's concussive. Concussive. It hurts, so I

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Speaker 1: know it hurts. Sometimes it hurts like hell no, it's

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Speaker 1: it's a different rhythm. No, no, no, Well, I mean

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Speaker 1: I love scripture. People will send me a script. I was.

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Speaker 1: I read a script recently that my uh my partner.

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Speaker 1: I have a little kind of micro budget company. We

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Speaker 1: produced a film and the writer director we we left

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Speaker 1: at this opportunity because he did not have an equivalency

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Speaker 1: of everybody's voice and the muscularity of their language. People

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Speaker 1: who were simple spoke simply. There's other people who were

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Speaker 1: very very intellectual. He was very kind of kind of

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Speaker 1: ten dollar words and stuf forth and he and he

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Speaker 1: gave a very specific voice in language to everybody, which

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Speaker 1: I love. The writing dialogue is very difficult, for that

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Speaker 1: is the that is the drama. I think dramaturgy is

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Speaker 1: full of many structural things that you can learn, but

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Speaker 1: the ear to make each person speak as a character

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Speaker 1: completely formed and used, the idiosyncrasies and the mistakes or

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Speaker 1: the charming or the overwrought, is really really the art.

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Speaker 1: So when does your formal education down there, like when

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Speaker 1: you're there? I mean, I hate to say this, but

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Speaker 1: you know, in the United States, especially in my youth.

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Speaker 1: I'm a lot older now, but in my youth, there

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Speaker 1: was still the kind of you know, gleaming idea of

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Speaker 1: Hollywood going up to Los Angeles. And now there's the

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Speaker 1: diaspora of film production all over the United States. Now

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Speaker 1: you know, in Atlanta and all this craziness. But when

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Speaker 1: were in Mexico, what was the in Mexico? I was

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Speaker 1: I was born and raising Wallahara, so there was no

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Speaker 1: there's always in Mexico. When I was growing up, it

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Speaker 1: was the capital Mexico City have everything we have to

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Speaker 1: go there to learn. We have yeah, and they have

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Speaker 1: the festivals blaa. So at one point a group of

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Speaker 1: people in Wallahara we got together and we said, there's

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Speaker 1: no school, let's create one. There's no festival, let's create one.

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Speaker 1: That festival, which we created thirty five years ago, is

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Speaker 1: now one of the biggest film festivals in Ina. And

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Speaker 1: and uh the school, the schools still running and uh

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Speaker 1: and that festival. The first year, I was one of

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Speaker 1: the directors with a short film called on Alope, and

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Speaker 1: I was the ticket salesman, the projections and the driver

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Speaker 1: and pressure. And I think that I remember I told

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Speaker 1: you no better on that popcorn, by the way, disappointed,

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Speaker 1: I would do that, I would And I think the

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Speaker 1: beauty of that. I learned to project. We had a

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Speaker 1: center back then, you have no no video cassettes. So

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Speaker 1: we had a Revival Club which every Saturday and Sunday

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Speaker 1: we would project. We would organize a cycle of movies

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Speaker 1: of Fellini, Hitchcock, Bunel uh. And for about eight years

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Speaker 1: that was a big film education. But I'm an avid

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Speaker 1: reader and n avid watcher, so I read anything I could.

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Speaker 1: Under puberty hit and then my interests changed a little

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Speaker 1: and I read a little less now when you when

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Speaker 1: you're in film school, you attended the film school, Well,

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Speaker 1: we created it and from what we did is the

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Speaker 1: first jarity on film, so so you can get into

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Speaker 1: the I was both the first year we brought teachers

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Speaker 1: from Mexico mostly and the second year we were teaching.

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Speaker 1: I thought I got film language, and I think, I

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Speaker 1: love teaching. I do this day. I love teaching. I

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Speaker 1: love explaining time for that, you know, I do it

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Speaker 1: now and then I grew. I still do it now

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Speaker 1: and then I have right now my focus is animation

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Speaker 1: and I still go to Galalajara and I have we're

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Speaker 1: creating an animation workshop for stop motion, and I created

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Speaker 1: a couple of scholarships, and I still got to the

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Speaker 1: animators and I tell them how to structure a screenplay.

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Speaker 1: And I love when you explain something, you really learn it.

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Speaker 1: When you directed your first feature, which was Chronos, you

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Speaker 1: directed Chronos, you shot in Mexico City, Yeah, yeah, there was.

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Speaker 1: There was. What what I would have liked as a career,

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Speaker 1: I would have ambitioned and I would have loved was

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Speaker 1: to be a weird guy in Wallallahara doing weird movies

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Speaker 1: in genres in Wallallahara. So I wanted to do noir film,

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Speaker 1: noir in my in my streets. I wanted to do

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Speaker 1: horror in my streets. So Chronos came out of that.

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Speaker 1: I wanted my I lived with my grandmother many many years.

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Speaker 1: She was very, very Catholic and exercised me twice and

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Speaker 1: I I we had a blamer, do you no, No,

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Speaker 1: I would have done the same. I wish she had

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Speaker 1: controlled my car intape. You know she didn't. She gave

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Speaker 1: me a friend chicken, the least provocation for breakfasts on level.

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Speaker 1: The thing is, I felt I wanted to tell a

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Speaker 1: story of a grandfather and a granddaughter, and the grandfather

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Speaker 1: was a vampire, and the granddaughter loved him no matter what.

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Speaker 1: Basically all my movie are about loving someone no matter what.

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Speaker 1: All of that and and and uh, and I thought

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Speaker 1: I'll write it for the province, and then we just

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Speaker 1: moved into Mexico City. That was a very difficult movie

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Speaker 1: to make. What did you learn when you're on the

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Speaker 1: set making your first feature and you have some resources,

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Speaker 1: maybe not as the kind of resources you would eventually

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Speaker 1: have to make, It's all the same. I was gonna say,

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Speaker 1: what was what were the things that with the big

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Speaker 1: learning curve for you in the practical experience of your

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Speaker 1: first home, the thing that you get a horrible, horrible

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Speaker 1: lesson early on, because Coronas told me about eight years

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Speaker 1: to get me. And I remember there was a beautiful

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Speaker 1: scene which is not in the movie where he comes

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Speaker 1: back if any of you saw it. The guy restorects

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Speaker 1: and comes back and he cannot wake up his wife

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Speaker 1: because she thinks he's dead. He's living in the attic

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Speaker 1: and a toy box, you know. So he went to

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Speaker 1: see her and he wanted to touch her but he couldn't,

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Speaker 1: and he wanted to lay next to her but he couldn't.

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Speaker 1: Then he laid on the floor and I had a

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Speaker 1: top shot of him laying on the floor. It was

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Speaker 1: like a beautiful, little tender scene. And it was one

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Speaker 1: of the scenes that I made the movie for Lah

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Speaker 1: Lah Lah. And it came and things happened, and it

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Speaker 1: went wrong and it went away, and you never forget that.

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Speaker 1: You really, as a direct doesn't no, but you you

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Speaker 1: need to know that what you're doing is and you're

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Speaker 1: orchestrating an accident and you only get one chance of

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Speaker 1: really getting it and then you moved past it. To

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Speaker 1: this day, I have only re shot something one in

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Speaker 1: Pan's Laverne an additional shooting to three days on on

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Speaker 1: Pacific rink, because you prepare so extensive. I prepare because

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Speaker 1: I say, this is what it's gonna go away, the fear,

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Speaker 1: or what it's gonna wear. You know how people dream

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Speaker 1: that they go to school and they're on their pajamas.

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Speaker 1: I dreamed that I come to said and and something

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Speaker 1: goes wrong, and I said, it's not radio, and I

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Speaker 1: have to and I prepare really well because then there's

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Speaker 1: room for him now. And as you said, the arc

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Speaker 1: is the same, so that now in your career where

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Speaker 1: you have this huge career making films, and the budgets

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Speaker 1: are of course so much more significant, but the methodology

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Speaker 1: is the same to you. There's always there is now. Well,

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Speaker 1: let me let me put it this way. I have

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Speaker 1: made movies for one point nine million, and I have

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Speaker 1: made movies for a handred million. Oh, I know the procedures.

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Speaker 1: The procedure is exactly the same, because as a director

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Speaker 1: is your duty to your responsibly always exceed the scope,

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Speaker 1: exceed the budget. But we talked about you always other

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Speaker 1: in other words. In other words, if you have enough

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Speaker 1: time and enough money, you're sucking up you you you

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Speaker 1: you have wrong. I may be fat here, but I'm

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Speaker 1: not fat here. So you know here is like a

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Speaker 1: six pag on the you know here chisel. But but

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Speaker 1: it's do do give me On a Campbell Shape of Water,

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Speaker 1: it's nineteen point three million and the scope is much bigger.

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Speaker 1: And I remember on the first Hellboy, Uh, they came

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Speaker 1: in and I have all these things, and they said

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Speaker 1: you have to call what was it, You have to

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Speaker 1: call seven million? And I said, okay, I'll add on

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Speaker 1: actions in yeah, to screw you all of actions. So

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Speaker 1: I I added the scene where the pendulum destroys the bridge.

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Speaker 1: It was not in the original budget, and we ended

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Speaker 1: up on their budget. Still Shape of Water we ended

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Speaker 1: up two hundred dollars under budget. But that is the

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Speaker 1: most amazing thing in the ark of my work in

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Speaker 1: films to go now to these super micro budgets where

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Speaker 1: it's like, you know, if I do uh, you know,

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Speaker 1: like a small row in like mision impossible. And then

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Speaker 1: I go to another movie and I'm on the set

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Speaker 1: of a movie where I'm saying the entire budget for

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Speaker 1: this movie. Is the budget for Tick tax on Mission Impossible?

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Speaker 1: You know, I mean they like Mission Impossibly, Like you

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Speaker 1: can't believe how much money they have. But you have

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Speaker 1: to keep going back and forth. Yeah I do. I

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Speaker 1: mean you're doing cardion muscles, you know you're doing You're

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Speaker 1: doing different exercises when I go up to a smaller movie.

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Speaker 1: That's why I used to do an American movie on

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Speaker 1: a movie in Spanish as director, because I wanted to

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Speaker 1: force myself to go back to tighten the muscles. Because

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Speaker 1: those muscles and this ones and and and and uh

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Speaker 1: and what is beautiful about it is you realize. I mean,

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Speaker 1: have you ever been on a movie where you go,

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Speaker 1: we have enough time to get this in right? There's

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Speaker 1: always you always is an oppressed I had. I had

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Speaker 1: a friend who wrote me into not racial sage from

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Speaker 1: He asked me to a film, good script, good director.

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Speaker 1: And we go to shoot the film and we're shooting

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Speaker 1: the big action scene as a like a shootout with

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Speaker 1: the cops on this bad guy and uh. And we

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Speaker 1: go to Griffith Park and we're gonna shoot. We're gonna

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Speaker 1: do night shooting on the shortest night of the year.

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Speaker 1: So we have like less time, and when I'm going, okay, Phillis,

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Speaker 1: it's the shortest night of the year and we want

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Speaker 1: to kind of get these shots. So we're sitting at

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Speaker 1: a picnic table and I said, so we do have

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Speaker 1: video playback, and the guy goes, now, we don't have

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Speaker 1: video playback and I and I said, I said, I

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Speaker 1: don't want video playback every day, but for this one

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Speaker 1: day of action, I said, you don't have video playback.

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Speaker 1: And it was a low budget film where they paid

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Speaker 1: me x and they got and then guy goes, we

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Speaker 1: don't we don't have any video money for video playback,

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Speaker 1: because they pointed at me, and I go what. He goes, well,

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Speaker 1: we gave you all the money we had and we

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Speaker 1: don't have any money, and like, you don't have any

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Speaker 1: money to shoot the fucking film, you know. But I've

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Speaker 1: learned about that meeting, why I will do films now

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Speaker 1: and I'll say, don't pay me this, pay me less.

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Speaker 1: So we haven't so we have at least a chance

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Speaker 1: to make a good movie. Well, I'm happy, Tom, I'm

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Speaker 1: happy for the year. You'll say that you don't gonna

388
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Speaker 1: because then there's other movies where we hold their head underwater.

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Speaker 1: By the way that they we gave a financial talk,

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Speaker 1: dont come not because I'm the same way I put

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Speaker 1: all my salary and shape of water, uh entirely. And

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Speaker 1: I said, how the way the way I see it is,

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Speaker 1: I say, I call it guard and I want that

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Speaker 1: on my wall. So I'm gonna pay for it, like

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Speaker 1: I would pay for a painting. So why don't I

396
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Speaker 1: pay for an extra day? Why don't I pay for

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Speaker 1: an extra little piece of set I wanted? And I mean,

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Speaker 1: I think, uh, I've always find that the rewards are

399
00:23:31,560 --> 00:23:37,720
Speaker 1: bigger when emotionally and existentially when you do that, I

400
00:23:37,920 --> 00:23:41,800
Speaker 1: think I've never done it any other way. I put

401
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Speaker 1: my money on Pacific Red. I said, I put my

402
00:23:45,040 --> 00:23:47,600
Speaker 1: money on the first helm boy, blah blah blah. Sometimes

403
00:23:47,640 --> 00:23:50,359
Speaker 1: they give it back. Sometimes it's pretty. That's that's a

404
00:23:50,440 --> 00:23:52,840
Speaker 1: sign of how the business has changed. I used to

405
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Speaker 1: play chicken with them. They'd say, well, you know the

406
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Speaker 1: director's assistant. The directors say, I can't bring Jeff. They

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Speaker 1: don't want to pay him. And I really, it's really

408
00:24:00,040 --> 00:24:01,960
Speaker 1: hurted me to do the movie without Jeff. And I

409
00:24:02,040 --> 00:24:04,240
Speaker 1: call the producer and said, I'll pay for Jeff. Take

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Speaker 1: Jeff's salary out of my salary. They do that want

411
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Speaker 1: and then the old days, I said that you'd embarrass

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Speaker 1: them and they go, no, no, no, no, very kind

413
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Speaker 1: of you. Thank you, but we and they want to

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Speaker 1: be embarrassed. They pay for Jeff. How about starting like

415
00:24:16,280 --> 00:24:18,239
Speaker 1: a ten years ago. They go, okay, sure you pay

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Speaker 1: for Jeff. We're under thank you. We're so sweet. We're

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00:24:22,240 --> 00:24:25,879
Speaker 1: on the same phase of our sal This week, I

418
00:24:26,000 --> 00:24:28,440
Speaker 1: wasn't negotiating this and that on something and I said,

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Speaker 1: I was talking to the studio on the phone and

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Speaker 1: I said, just so you know, my salary is contingency

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Speaker 1: that I can execute at will. So we this week.

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Speaker 1: That's a conversation because if I need the next two

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Speaker 1: day or I need for the night box, because these

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00:24:48,119 --> 00:24:51,159
Speaker 1: moments don't come back. They don't come back. If a

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00:24:51,240 --> 00:24:54,480
Speaker 1: naturalist on the zone and you need that, we're all

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00:24:55,000 --> 00:25:00,480
Speaker 1: under pressure anyway, because to direct is hostage negotiations with reality.

427
00:25:01,200 --> 00:25:05,200
Speaker 1: What it is, that is what it is. Directly you

428
00:25:05,280 --> 00:25:08,000
Speaker 1: can be cubric couple, You're gonna be anyone. The sound

429
00:25:08,119 --> 00:25:13,480
Speaker 1: still rises at six thirty for everyone. Everyone. The winter

430
00:25:13,680 --> 00:25:17,120
Speaker 1: says the weak of the whatever you have a reality

431
00:25:17,280 --> 00:25:20,960
Speaker 1: and I think some people think of directing as control,

432
00:25:21,359 --> 00:25:25,680
Speaker 1: and I think is about the wisdom of identifying the

433
00:25:25,720 --> 00:25:29,520
Speaker 1: opportunity in the crisis and not not not taking it

434
00:25:29,640 --> 00:25:31,879
Speaker 1: with fear, but saying we're gonna do it. There's a

435
00:25:31,920 --> 00:25:35,439
Speaker 1: scene in the Shape of Water, Uh where we were

436
00:25:35,520 --> 00:25:41,359
Speaker 1: shooting the scene where Michael is torturing the Russian spy

437
00:25:41,920 --> 00:25:46,399
Speaker 1: in a sand pit, and we were getting huge wind

438
00:25:46,880 --> 00:25:50,760
Speaker 1: that was throwing the sand into the camera into our flesh.

439
00:25:51,200 --> 00:25:54,960
Speaker 1: The rain was freezing, blah blah, and we lost half

440
00:25:55,000 --> 00:25:58,960
Speaker 1: a day. And we shot that scene on a technic

441
00:25:59,040 --> 00:26:00,920
Speaker 1: crane and me by the side of the techno in

442
00:26:01,000 --> 00:26:05,840
Speaker 1: the rain, directly the actors, and we've finished right when

443
00:26:05,880 --> 00:26:09,399
Speaker 1: the sun was rising. And I love that. That's the sport,

444
00:26:09,920 --> 00:26:12,760
Speaker 1: that's the sport, the challenge, that's that's why we that's

445
00:26:12,800 --> 00:26:15,280
Speaker 1: why we played the day I go on and say

446
00:26:15,359 --> 00:26:18,720
Speaker 1: I have a nice Studay, something's wrong, something's wrong. You

447
00:26:18,960 --> 00:26:22,080
Speaker 1: have do not have enough. I think that real art

448
00:26:23,359 --> 00:26:27,399
Speaker 1: and real freedom exists only with boundaries, because it's not

449
00:26:27,480 --> 00:26:30,600
Speaker 1: a bounder, is a structure. If you don't have structure,

450
00:26:30,640 --> 00:26:34,639
Speaker 1: you go mad. When you made your earlier films, and

451
00:26:34,720 --> 00:26:37,680
Speaker 1: there I mean, obviously they're and admittedly they're they're lower

452
00:26:37,680 --> 00:26:41,760
Speaker 1: budget films. They were early for about right. But but

453
00:26:42,000 --> 00:26:43,680
Speaker 1: but at some point, I mean, I'm not just saying

454
00:26:43,720 --> 00:26:45,200
Speaker 1: this to be kind. One of the only reasons I

455
00:26:45,240 --> 00:26:47,239
Speaker 1: wanted to do this with you is because you were

456
00:26:47,359 --> 00:26:50,240
Speaker 1: known as someone and I say this, I mean it

457
00:26:50,320 --> 00:26:52,080
Speaker 1: really kind of moves me in a certain way because

458
00:26:52,080 --> 00:26:54,119
Speaker 1: you are someone who in a business in which the

459
00:26:54,240 --> 00:26:57,879
Speaker 1: commercial is, you know, chiseling away at a lot of considerations,

460
00:26:57,920 --> 00:27:01,760
Speaker 1: and so many companies are are continuing to stalk the

461
00:27:02,000 --> 00:27:04,920
Speaker 1: risk free product to the risk free, which is impossible.

462
00:27:05,359 --> 00:27:09,120
Speaker 1: The risk free artistic enterprise is impossible. They must risk

463
00:27:09,240 --> 00:27:13,200
Speaker 1: their all pretended they won't. Studios, TV networks, they still

464
00:27:13,240 --> 00:27:14,679
Speaker 1: wake up every day that we're gonna go out there

465
00:27:14,680 --> 00:27:17,240
Speaker 1: and find that risk free movie. Fellas you know, and

466
00:27:17,520 --> 00:27:19,880
Speaker 1: uh and and and and and that you are someone

467
00:27:19,920 --> 00:27:23,720
Speaker 1: who the whole world worships and admires you for your

468
00:27:23,880 --> 00:27:26,880
Speaker 1: artistic soul. You are an artist, You are a great

469
00:27:26,960 --> 00:27:33,040
Speaker 1: lens well and when did when did you in that

470
00:27:33,200 --> 00:27:35,719
Speaker 1: way that like the films are doing you and then

471
00:27:35,760 --> 00:27:37,600
Speaker 1: one day you start doing them and you really have

472
00:27:37,760 --> 00:27:42,439
Speaker 1: the control. What is your artistic sensibility is it painting books.

473
00:27:42,680 --> 00:27:45,120
Speaker 1: There's such a richness and the tapestry to well, where

474
00:27:45,119 --> 00:27:47,159
Speaker 1: does that come from? I think when when I was,

475
00:27:47,320 --> 00:27:49,800
Speaker 1: when I was very very young, I was, I just

476
00:27:49,960 --> 00:27:53,600
Speaker 1: found the newspaper clippings of this uh in my mother's

477
00:27:53,680 --> 00:27:56,360
Speaker 1: house for many years, I thought there were only three

478
00:27:56,400 --> 00:27:59,679
Speaker 1: photographs of my childhood. And my mother, God bless her,

479
00:27:59,720 --> 00:28:03,359
Speaker 1: who is never communicative, I said, And I said, I

480
00:28:03,480 --> 00:28:06,680
Speaker 1: saved the photograph when I'm the vampire drinking a lot

481
00:28:06,720 --> 00:28:08,960
Speaker 1: of my sister, because I have only three photos. And

482
00:28:09,040 --> 00:28:11,119
Speaker 1: my mother goes, oh, no, we have a couple of

483
00:28:11,200 --> 00:28:17,720
Speaker 1: boxes in the back. I'm fifty four. He had never

484
00:28:17,920 --> 00:28:20,760
Speaker 1: told me that. So I go. He was gonna sell

485
00:28:20,800 --> 00:28:23,440
Speaker 1: them a mix of money. I go and get all that,

486
00:28:23,560 --> 00:28:26,960
Speaker 1: and I find this moment, this newspaper. My father won

487
00:28:27,119 --> 00:28:31,600
Speaker 1: the lottery in nineteen sixty nine, and he wants six

488
00:28:31,720 --> 00:28:37,560
Speaker 1: million dollars. What's you want? Now? He be my father

489
00:28:37,680 --> 00:28:42,800
Speaker 1: to think about it for a minute. He raised those really,

490
00:28:43,560 --> 00:28:47,120
Speaker 1: it was very strict about the way he raises. He said,

491
00:28:47,160 --> 00:28:49,920
Speaker 1: you want that work, you know. But he won and

492
00:28:50,160 --> 00:28:53,640
Speaker 1: and and so he bought a big house, and he

493
00:28:53,760 --> 00:28:57,280
Speaker 1: bought things that he wanted and what he bought because

494
00:28:57,400 --> 00:29:01,200
Speaker 1: somebody advised him to buy a lie library, because a

495
00:29:01,280 --> 00:29:04,320
Speaker 1: gentleman has a library, right, And he bought a library,

496
00:29:04,520 --> 00:29:08,400
Speaker 1: and I read it, and from then on I never

497
00:29:08,560 --> 00:29:13,080
Speaker 1: I mean, he had an encyclopedia about human health, and

498
00:29:13,320 --> 00:29:18,440
Speaker 1: encyclopedia of literature for kids, and encyclopedia of the of

499
00:29:18,800 --> 00:29:22,120
Speaker 1: fine arts. So I learned at the same time I

500
00:29:22,280 --> 00:29:26,800
Speaker 1: was learning about the gay money money del ball as

501
00:29:26,840 --> 00:29:29,360
Speaker 1: I was learning about Jack qb. Or Bernie writes on

502
00:29:29,640 --> 00:29:33,640
Speaker 1: or Stanley or. It was the same formative years so

503
00:29:33,840 --> 00:29:37,320
Speaker 1: to me. And I was reading uh O nivorously, I

504
00:29:37,360 --> 00:29:38,760
Speaker 1: would read but a lot of but a lot of

505
00:29:38,800 --> 00:29:40,920
Speaker 1: people are led to that water, but they don't drink.

506
00:29:41,480 --> 00:29:43,240
Speaker 1: You admit that you it's in the nate thing you

507
00:29:45,000 --> 00:29:47,680
Speaker 1: it is. I tell you this. I didn't get this

508
00:29:47,800 --> 00:29:53,920
Speaker 1: size by being measured your passion. I'm i'm I'm insatiable

509
00:29:53,960 --> 00:29:57,440
Speaker 1: about images. I love them. I go through museums at

510
00:29:57,520 --> 00:30:00,880
Speaker 1: the I think that you learned from architecture. You don't

511
00:30:00,920 --> 00:30:03,400
Speaker 1: learn film from film. You learned part of film from that.

512
00:30:03,480 --> 00:30:06,640
Speaker 1: When you learn film from the other arts from life,

513
00:30:07,360 --> 00:30:12,040
Speaker 1: you know, I think traveling uh learning. You learn composition

514
00:30:12,640 --> 00:30:16,640
Speaker 1: in painting, and it applies to film except is changing.

515
00:30:16,760 --> 00:30:20,240
Speaker 1: You know, you learn how to stage on on theater.

516
00:30:20,560 --> 00:30:22,840
Speaker 1: Your films, to me are people would say to me,

517
00:30:23,320 --> 00:30:25,240
Speaker 1: I should I take should take this to my my wife.

518
00:30:25,320 --> 00:30:27,600
Speaker 1: My wife is not a big movie goer, and she

519
00:30:27,640 --> 00:30:28,800
Speaker 1: would say to me, you know, what is it? What

520
00:30:28,920 --> 00:30:30,560
Speaker 1: is it about films that you love? And I said,

521
00:30:30,840 --> 00:30:32,720
Speaker 1: you know, like a film like The Godfather. You know,

522
00:30:32,800 --> 00:30:35,280
Speaker 1: without picking such a cliche example, I said, in terms

523
00:30:35,320 --> 00:30:38,400
Speaker 1: of the composition, the lighting, the set design, the costumes,

524
00:30:38,680 --> 00:30:40,880
Speaker 1: the music that pays. I said that the thing is,

525
00:30:41,840 --> 00:30:43,920
Speaker 1: you know, a work of art as closest to a

526
00:30:43,960 --> 00:30:45,680
Speaker 1: work of art and cinema as we're ever going to

527
00:30:45,800 --> 00:30:48,880
Speaker 1: have in in history. I mean, The Godfather is a

528
00:30:48,960 --> 00:30:51,480
Speaker 1: work of art from the first frame to the last

529
00:30:51,520 --> 00:30:54,080
Speaker 1: fame there was a god. And your films are the same.

530
00:30:54,160 --> 00:30:57,560
Speaker 1: You remind me of the richness inside the frame. Tell

531
00:30:57,640 --> 00:31:00,200
Speaker 1: me a thing. When we first met many we at

532
00:31:00,280 --> 00:31:05,000
Speaker 1: the first time in eight or nine, and you said

533
00:31:05,080 --> 00:31:07,680
Speaker 1: something to me that I still use. You said to

534
00:31:07,760 --> 00:31:11,160
Speaker 1: me you were about mimic of all things. You said

535
00:31:11,200 --> 00:31:14,280
Speaker 1: you were getting dressed, and you sat by the in

536
00:31:14,360 --> 00:31:17,280
Speaker 1: the bed with one sogain and one soga in your hair,

537
00:31:17,800 --> 00:31:19,800
Speaker 1: and because Mimic was on TV and you said, that's

538
00:31:19,840 --> 00:31:23,160
Speaker 1: a great image, and you started loving the images, and

539
00:31:23,280 --> 00:31:26,720
Speaker 1: I think all art I was DECI known with a friend,

540
00:31:28,160 --> 00:31:31,720
Speaker 1: the painter Julian Schnabel, and we were talking and the

541
00:31:32,240 --> 00:31:35,640
Speaker 1: best definition I've heard he gave today about what art

542
00:31:35,800 --> 00:31:40,320
Speaker 1: is something that you feel. It's a universe you you

543
00:31:40,480 --> 00:31:43,280
Speaker 1: want to live in, or a universe that is complete.

544
00:31:43,720 --> 00:31:47,200
Speaker 1: So when you see an image you it's not real,

545
00:31:47,400 --> 00:31:50,400
Speaker 1: it's something else. It's not a mirror. It's a universe

546
00:31:50,760 --> 00:31:54,360
Speaker 1: complete in itself, and you know the person there is obsessing.

547
00:31:54,400 --> 00:31:57,760
Speaker 1: For example, we're preparing a movie we're gonna shoot in September.

548
00:31:58,680 --> 00:32:02,840
Speaker 1: Yesterday I spend part of my afternoon in antique shops,

549
00:32:03,400 --> 00:32:06,080
Speaker 1: buying the things that are going into a suitcase that

550
00:32:06,200 --> 00:32:09,200
Speaker 1: the character is gonna be logging around. I bought a wallet,

551
00:32:09,760 --> 00:32:13,840
Speaker 1: I bought money from two I bought a shaving kid

552
00:32:13,960 --> 00:32:16,800
Speaker 1: that would fit in the bag. I started feeling it

553
00:32:17,320 --> 00:32:21,960
Speaker 1: and I do that for months. And with Sally Hawkins

554
00:32:22,640 --> 00:32:26,360
Speaker 1: for Shape of Water, we went shopping and we found

555
00:32:26,840 --> 00:32:30,280
Speaker 1: the egg timer in the movie and the dog that

556
00:32:30,400 --> 00:32:34,040
Speaker 1: she uses to brush her shoes. We were antiquing and

557
00:32:34,320 --> 00:32:37,400
Speaker 1: we I said, let's find a brush, let's find something

558
00:32:37,480 --> 00:32:40,280
Speaker 1: that your character, because to me, it's real when a

559
00:32:40,800 --> 00:32:43,040
Speaker 1: when a movie comes to my head, I can write.

560
00:32:43,160 --> 00:32:46,040
Speaker 1: I do write the biography of the characters, eight to

561
00:32:46,160 --> 00:32:49,280
Speaker 1: ten pages for the actor. I tell them what the

562
00:32:49,600 --> 00:32:54,400
Speaker 1: character eats, drinks, listens to, watches, likes, dislikes, and I

563
00:32:54,520 --> 00:32:57,120
Speaker 1: give them a thing that is called I give them

564
00:32:57,200 --> 00:32:59,720
Speaker 1: a secret that they cannot share with the rest of

565
00:32:59,800 --> 00:33:02,920
Speaker 1: the That is, you and I are the only ones

566
00:33:02,960 --> 00:33:06,200
Speaker 1: that know this secret. And and and some macros take it,

567
00:33:06,760 --> 00:33:10,760
Speaker 1: some microls aren't. Uh. For example, Richard Jenkins on Shape

568
00:33:10,800 --> 00:33:14,880
Speaker 1: of Water said, this is great. I'm not gonna use it. Really, yeah?

569
00:33:15,160 --> 00:33:16,920
Speaker 1: Really is that? I don't I don't know what I'm

570
00:33:16,920 --> 00:33:19,280
Speaker 1: gonna do from and take to the next I want

571
00:33:19,280 --> 00:33:20,960
Speaker 1: to be there. I don't want to think about it.

572
00:33:21,400 --> 00:33:23,560
Speaker 1: And what you know, I would I would be the

573
00:33:23,600 --> 00:33:26,640
Speaker 1: opposite at the releast, I would pretend that I wanted to. Well,

574
00:33:27,560 --> 00:33:37,080
Speaker 1: that is so I'll cherish it always, yeah, but or

575
00:33:37,160 --> 00:33:40,240
Speaker 1: other things in twenty in twenty five years, the only

576
00:33:40,320 --> 00:33:43,680
Speaker 1: thing that I I've learned is that the relationship with

577
00:33:43,760 --> 00:33:46,960
Speaker 1: Jean's actor. Each actor is unique, you know, and it

578
00:33:47,120 --> 00:33:49,360
Speaker 1: really is, and when it works without naming names, because

579
00:33:49,560 --> 00:33:52,560
Speaker 1: first of all, clap, just give me one second. Clap here.

580
00:33:52,640 --> 00:33:56,160
Speaker 1: If you are in now or are studying to be

581
00:33:56,280 --> 00:34:01,520
Speaker 1: in the film industry, m clap. If you're in the

582
00:34:01,640 --> 00:34:07,360
Speaker 1: shoe industry, why good clap, clap, clap. If you want

583
00:34:07,360 --> 00:34:11,520
Speaker 1: to be a director, that makes sense. Man I clap.

584
00:34:14,239 --> 00:34:15,960
Speaker 1: I don't clap because I don't want to be a director.

585
00:34:16,080 --> 00:34:19,000
Speaker 1: Can I tell tell something? As everyone is in Miami

586
00:34:19,120 --> 00:34:24,640
Speaker 1: Blues if you haven't seen, clap. If you haven't seen

587
00:34:24,760 --> 00:34:31,839
Speaker 1: Miami Blue, thank you, thank you anyway, So, um, that's

588
00:34:31,880 --> 00:34:33,520
Speaker 1: a movie I made back in the plis to see

589
00:34:33,520 --> 00:34:36,200
Speaker 1: an era of my career. But but the now, the

590
00:34:36,400 --> 00:34:40,600
Speaker 1: the But when you in terms of actors, because this

591
00:34:40,719 --> 00:34:44,279
Speaker 1: is instructive for people who are directors, and even if

592
00:34:44,280 --> 00:34:48,120
Speaker 1: you're working directors or student directors, you know, I say, uh,

593
00:34:48,960 --> 00:34:51,280
Speaker 1: but you know, actors they really do want to be directed.

594
00:34:51,400 --> 00:34:53,560
Speaker 1: They want so badly to be directed. But in the

595
00:34:53,680 --> 00:34:55,799
Speaker 1: right way. Well, they want you to say something meaning

596
00:34:56,200 --> 00:34:58,440
Speaker 1: it's your movie. Tell me what movie you want to

597
00:34:58,480 --> 00:35:00,960
Speaker 1: make the decision to make your film. Um, we kind

598
00:35:01,000 --> 00:35:03,080
Speaker 1: of discerned that early on. If you tell me I

599
00:35:03,160 --> 00:35:04,600
Speaker 1: want to make a movie about this, and I go, oh,

600
00:35:04,680 --> 00:35:06,759
Speaker 1: I don't think I want to do that. Then I say,

601
00:35:06,800 --> 00:35:08,960
Speaker 1: thank you. What I tell my agent just passed whatever.

602
00:35:09,400 --> 00:35:11,160
Speaker 1: And if you get to a meeting with somebody and

603
00:35:11,320 --> 00:35:14,000
Speaker 1: you know you you want that clarity. And if you

604
00:35:14,520 --> 00:35:16,560
Speaker 1: sit with someone and they describe the kind of film

605
00:35:16,600 --> 00:35:18,880
Speaker 1: that you want to make, you want them to just

606
00:35:19,440 --> 00:35:21,279
Speaker 1: tell me what you want me to do? You know,

607
00:35:21,400 --> 00:35:23,839
Speaker 1: I mean you've you've hired me like Nichols. Like Mike

608
00:35:23,960 --> 00:35:26,560
Speaker 1: Nichols was like he cast they always take great directing.

609
00:35:26,600 --> 00:35:28,840
Speaker 1: Half of its casting well, and he bring people in

610
00:35:29,280 --> 00:35:32,080
Speaker 1: and he believed you could do what you that you

611
00:35:32,120 --> 00:35:34,600
Speaker 1: could achieve what he wanted to do achieve, but evenetheless

612
00:35:34,680 --> 00:35:36,400
Speaker 1: told you to what to do. I think you should

613
00:35:36,440 --> 00:35:39,160
Speaker 1: do this, and you find when it works with actors

614
00:35:39,239 --> 00:35:42,120
Speaker 1: what happens, and what it doesn't work with actors, what happens. Well,

615
00:35:42,840 --> 00:35:47,000
Speaker 1: I've only the worst mistake I made. I made in

616
00:35:47,200 --> 00:35:51,960
Speaker 1: chronicles and I didn't I cast someone that brought a

617
00:35:52,120 --> 00:35:55,320
Speaker 1: very different thing to the table, and I couldn't process it.

618
00:35:55,840 --> 00:35:57,560
Speaker 1: And I think what you're do is you take what

619
00:35:58,040 --> 00:36:01,440
Speaker 1: they can do and you work with that. If you

620
00:36:01,600 --> 00:36:04,440
Speaker 1: if you if you are too to understand the essence

621
00:36:04,480 --> 00:36:09,960
Speaker 1: because of directing is casting. If you cast well, you're

622
00:36:09,960 --> 00:36:13,400
Speaker 1: a good actors director. And the way I cast is

623
00:36:13,480 --> 00:36:17,719
Speaker 1: the eyes because film is made of ice. Film is

624
00:36:17,800 --> 00:36:22,680
Speaker 1: made of a gaze. Either somebody looking yeah, is there

625
00:36:22,760 --> 00:36:26,200
Speaker 1: life in those eyes? Is their intelligence? Is their cruelty,

626
00:36:26,840 --> 00:36:30,240
Speaker 1: is their compassion? And that you get in the first meeting,

627
00:36:31,120 --> 00:36:33,320
Speaker 1: and then you get then you get the essence. And

628
00:36:33,400 --> 00:36:35,680
Speaker 1: the way I see it is a symphony of ice.

629
00:36:35,920 --> 00:36:39,640
Speaker 1: I can have surgery on my eyes, make you believe

630
00:36:39,680 --> 00:36:43,239
Speaker 1: more in my acting are very specific, very specific, and

631
00:36:43,320 --> 00:36:46,239
Speaker 1: I think the for example, to me, the eyes of

632
00:36:46,280 --> 00:36:50,680
Speaker 1: Octavia Spencer, the eyes of of Sally Hawkins, the eyes

633
00:36:50,719 --> 00:36:53,399
Speaker 1: of Richard Jenkins, very different, each of them. And it's

634
00:36:53,440 --> 00:36:58,280
Speaker 1: a symphony because film is symphonic. Film is symphonic. Everything

635
00:36:58,400 --> 00:37:01,759
Speaker 1: is is perco say blah blah blah, but there is

636
00:37:02,040 --> 00:37:06,000
Speaker 1: there is the actor. If the essence of the character

637
00:37:06,120 --> 00:37:09,879
Speaker 1: exists there, it has to it has to be done

638
00:37:09,960 --> 00:37:13,239
Speaker 1: that way the casting, and then what do you do? Well?

639
00:37:13,280 --> 00:37:16,600
Speaker 1: I learned. I learned a few things that are essentially true.

640
00:37:17,600 --> 00:37:21,399
Speaker 1: Most directors are afraid of actors. I really a lot

641
00:37:21,480 --> 00:37:26,560
Speaker 1: of them are a lot of both but here's the deal.

642
00:37:27,080 --> 00:37:29,400
Speaker 1: The best thing that can happen to a director is

643
00:37:29,480 --> 00:37:31,960
Speaker 1: to act, and the best thing that can happen to

644
00:37:32,080 --> 00:37:35,480
Speaker 1: an actor is to direct, because then you understand that

645
00:37:35,600 --> 00:37:38,840
Speaker 1: those are the two loneliest positions in the set. And

646
00:37:39,160 --> 00:37:41,680
Speaker 1: what you need to understand is that most actors feel

647
00:37:41,840 --> 00:37:46,959
Speaker 1: completely alone if they don't know you are there for them,

648
00:37:47,480 --> 00:37:51,760
Speaker 1: watching them and understanding what they're trying and what they're bringing.

649
00:37:52,280 --> 00:37:56,120
Speaker 1: And then, for example, Richard Jenkins, you go four or

650
00:37:56,160 --> 00:38:00,440
Speaker 1: five takes before you win because he's trying things, and

651
00:38:00,520 --> 00:38:04,840
Speaker 1: you understand this another actor. Some actors will dry you

652
00:38:04,960 --> 00:38:08,200
Speaker 1: with a bad day to see if you say good

653
00:38:08,560 --> 00:38:11,959
Speaker 1: and then they don't trust your random fast they would

654
00:38:12,080 --> 00:38:15,239
Speaker 1: you would go that's great, and then he would say, okay,

655
00:38:15,280 --> 00:38:18,520
Speaker 1: I'm alow to lose. I'm alone, I'm alone to lose. Yeah. Uh,

656
00:38:18,600 --> 00:38:22,120
Speaker 1: And you learn all these things. Some actors need a friend,

657
00:38:22,239 --> 00:38:26,279
Speaker 1: so micros need a pal, a dad, a brother, a

658
00:38:26,400 --> 00:38:31,200
Speaker 1: besque master sometime mentor yeah. And you is each actor.

659
00:38:31,280 --> 00:38:34,560
Speaker 1: Some actors get great on take three, another one in

660
00:38:34,680 --> 00:38:37,080
Speaker 1: dake one, and you need to go, how do I

661
00:38:37,239 --> 00:38:40,000
Speaker 1: make this? Well? You? You? You? You? You also realize

662
00:38:40,040 --> 00:38:42,879
Speaker 1: that you know the great. The beautiful thing where time

663
00:38:42,920 --> 00:38:45,920
Speaker 1: allows is to let it kind of happen, you know.

664
00:38:46,040 --> 00:38:48,080
Speaker 1: I mean, Warren Batty is a great movie stari is

665
00:38:48,080 --> 00:38:50,520
Speaker 1: one of the greatest movie stars that ever lived. And

666
00:38:50,680 --> 00:38:53,839
Speaker 1: I went and did Rules Don't Apply his his last

667
00:38:53,840 --> 00:38:55,960
Speaker 1: song he did with Lily Collins and so forth. And

668
00:38:56,000 --> 00:38:57,520
Speaker 1: I had a small part in there. And I'm doing

669
00:38:57,560 --> 00:39:00,600
Speaker 1: a scene and they had two sets. We're doing a

670
00:39:00,640 --> 00:39:02,680
Speaker 1: phone call and I'm on once that he's on the other.

671
00:39:03,000 --> 00:39:04,759
Speaker 1: And he would sit and feeding my lines and they'd

672
00:39:04,760 --> 00:39:07,520
Speaker 1: shoot my half, and then he would move the cameras

673
00:39:07,640 --> 00:39:10,000
Speaker 1: through beyond the wall. He was right ten feet from me,

674
00:39:10,200 --> 00:39:13,279
Speaker 1: and they shoot him and on his side, I mean

675
00:39:13,320 --> 00:39:15,239
Speaker 1: on my side. When he was off camera, he was

676
00:39:15,360 --> 00:39:18,399
Speaker 1: very subtle and very sinecere. And then you go back

677
00:39:18,440 --> 00:39:20,480
Speaker 1: and watched the playback and he's directing the film. Then

678
00:39:20,520 --> 00:39:22,239
Speaker 1: movie we came on his side. I mean, he did

679
00:39:22,280 --> 00:39:25,320
Speaker 1: a scene he's watching this TV show and he starts

680
00:39:25,400 --> 00:39:29,480
Speaker 1: convulsing and crying and sobbing, like I never could expect

681
00:39:29,920 --> 00:39:33,080
Speaker 1: that the depth of his performer. He was so into

682
00:39:33,160 --> 00:39:36,400
Speaker 1: it and and just keening in this scene. And we

683
00:39:36,520 --> 00:39:38,360
Speaker 1: all go to the monitor and we're all watching on

684
00:39:38,400 --> 00:39:40,440
Speaker 1: the playback, and he's standing behind us. I looked up

685
00:39:40,440 --> 00:39:42,640
Speaker 1: at him and I was like, oh my god, that

686
00:39:42,760 --> 00:39:44,799
Speaker 1: was amazing. He looks he goes every now and then,

687
00:39:45,160 --> 00:39:48,719
Speaker 1: every now and then. And I thought to myself, this

688
00:39:48,880 --> 00:39:51,719
Speaker 1: is Warren Beatty, who is famous for doing like a

689
00:39:51,800 --> 00:39:54,359
Speaker 1: thirty four and he takes but to work with someone

690
00:39:54,480 --> 00:39:56,359
Speaker 1: who looks at you at the beginning, says, let's take

691
00:39:56,400 --> 00:39:59,239
Speaker 1: our time. Maybe you're gonna get there take four. Maybe

692
00:39:59,280 --> 00:40:00,839
Speaker 1: you're gonna get there. You don't get there by take

693
00:40:00,880 --> 00:40:03,400
Speaker 1: ten or twelve. Maybe we should move on or you

694
00:40:03,480 --> 00:40:06,080
Speaker 1: know whatever. But and and some directors wait for it

695
00:40:06,160 --> 00:40:07,600
Speaker 1: to happen, but we dont wants to be like like

696
00:40:07,640 --> 00:40:10,239
Speaker 1: looking at the watch. You know that's I tell you,

697
00:40:10,400 --> 00:40:14,040
Speaker 1: that's that's a duty that I can And that's a

698
00:40:14,200 --> 00:40:17,320
Speaker 1: rule that I can impart here and now do anyone

699
00:40:17,400 --> 00:40:21,040
Speaker 1: interested in directing, And it's a rule. Your job is

700
00:40:21,360 --> 00:40:23,440
Speaker 1: no matter. Why do you have half a day to

701
00:40:23,480 --> 00:40:26,400
Speaker 1: shoot a really important to see whatever it is you

702
00:40:26,520 --> 00:40:29,320
Speaker 1: need to create the feeling on your cast and your group.

703
00:40:29,920 --> 00:40:33,920
Speaker 1: That is enough, That is plenty, That is really great.

704
00:40:34,480 --> 00:40:37,040
Speaker 1: You know that that you're gonna take this moment and

705
00:40:37,160 --> 00:40:40,080
Speaker 1: it's yours and there's no hurry. Sure you gotta get

706
00:40:40,160 --> 00:40:42,280
Speaker 1: out of there at three pm and in one thirty.

707
00:40:42,560 --> 00:40:45,200
Speaker 1: Still I always tell I always tell the stupidest story

708
00:40:45,400 --> 00:40:47,600
Speaker 1: over and over again. I do my first movie, The

709
00:40:47,920 --> 00:40:51,319
Speaker 1: Alice with Woody Allen in nineteen nine one or nineteen nine,

710
00:40:51,840 --> 00:40:54,080
Speaker 1: and in that way, I'm younger, I'm kind of new

711
00:40:54,160 --> 00:40:55,960
Speaker 1: to making films. I've only been making films for a

712
00:40:56,000 --> 00:40:59,239
Speaker 1: few years. I'm doing this small part with Mia and

713
00:40:59,480 --> 00:41:01,640
Speaker 1: Uh and they said to you, basically, don't talk to

714
00:41:01,719 --> 00:41:03,840
Speaker 1: Woody and wood he's not going to talk to you.

715
00:41:03,960 --> 00:41:05,920
Speaker 1: And he's the director. He's saying, they're going he's the

716
00:41:06,000 --> 00:41:10,440
Speaker 1: director and he's not going to talk to you, and

717
00:41:10,560 --> 00:41:12,560
Speaker 1: don't you talk to him. I'm like, okay, okay, God.

718
00:41:13,400 --> 00:41:15,640
Speaker 1: And so in that way, like where do you get

719
00:41:15,680 --> 00:41:19,120
Speaker 1: the direction from somebody? Carlo de Palma, who was the DP,

720
00:41:19,320 --> 00:41:21,520
Speaker 1: wound up giving me some kind of air sets directing,

721
00:41:21,960 --> 00:41:26,360
Speaker 1: which was difficult because he spoke cardi any English. So

722
00:41:26,600 --> 00:41:28,399
Speaker 1: my favorite story was I told this to the dj

723
00:41:28,480 --> 00:41:31,040
Speaker 1: A one time or the the I think it was

724
00:41:31,120 --> 00:41:33,040
Speaker 1: the dj A some award show. I said, we would

725
00:41:33,080 --> 00:41:34,640
Speaker 1: be there and Carlo de Parma will walk up to

726
00:41:34,640 --> 00:41:41,040
Speaker 1: me go ale you mi a delight comes a da

727
00:41:41,960 --> 00:41:45,880
Speaker 1: like a you very good and it's so good. But

728
00:41:46,440 --> 00:41:50,640
Speaker 1: you know me, I go uh, I start to read

729
00:41:50,760 --> 00:41:54,359
Speaker 1: his mind and I go, you don't me to lean

730
00:41:54,400 --> 00:41:55,920
Speaker 1: forward in the check because they're like coming through the

731
00:41:55,920 --> 00:42:00,640
Speaker 1: window like a sim he's so good luck still very good.

732
00:42:02,040 --> 00:42:04,000
Speaker 1: We get to another take. He goes, I like you

733
00:42:04,840 --> 00:42:10,960
Speaker 1: the couch and no like and I say, I'm a ghost,

734
00:42:11,040 --> 00:42:13,520
Speaker 1: so I shouldn't sit on the chair because the body

735
00:42:13,560 --> 00:42:15,560
Speaker 1: of a ghost wouldn't make a dent in the fabric.

736
00:42:15,600 --> 00:42:17,279
Speaker 1: Croup the chair. He goes, c C C, I le

737
00:42:17,560 --> 00:42:22,960
Speaker 1: say you are still very good and you are starry.

738
00:42:23,160 --> 00:42:26,040
Speaker 1: Well it works that that particular day maybe, But but

739
00:42:26,320 --> 00:42:28,480
Speaker 1: you go on the set as an actor and you

740
00:42:28,560 --> 00:42:30,759
Speaker 1: really do want the collaboration. You want you want them

741
00:42:30,840 --> 00:42:33,359
Speaker 1: to get what they want because because when you say

742
00:42:33,680 --> 00:42:36,040
Speaker 1: your your your your statement here and now I want

743
00:42:36,040 --> 00:42:38,400
Speaker 1: to say here and now for actress, is that if

744
00:42:38,440 --> 00:42:40,560
Speaker 1: you're a good actor, you realize the director is making

745
00:42:40,600 --> 00:42:42,960
Speaker 1: the movie, not you. You better get in the same

746
00:42:43,000 --> 00:42:46,040
Speaker 1: frequency the director or your fun. Well what what you

747
00:42:46,320 --> 00:42:50,040
Speaker 1: what you have to thank is as a director, I'm

748
00:42:50,120 --> 00:42:52,839
Speaker 1: the guy that turns on the light before anyone shows up,

749
00:42:53,120 --> 00:42:54,839
Speaker 1: and I'm the guy that turns off the light after

750
00:42:55,000 --> 00:42:58,880
Speaker 1: everybody leaves, and Walter wall and what I'm I'm watching

751
00:42:59,560 --> 00:43:03,640
Speaker 1: it's im sake. So that day you're blue, next day

752
00:43:03,680 --> 00:43:07,319
Speaker 1: you're purple, next day you're red, and you are red

753
00:43:07,560 --> 00:43:10,480
Speaker 1: or purple or and you are just in that state.

754
00:43:10,800 --> 00:43:13,759
Speaker 1: But I can tell you right now in this this

755
00:43:13,960 --> 00:43:16,080
Speaker 1: may be a good take if we were a minute

756
00:43:16,200 --> 00:43:18,799
Speaker 1: ten of the movie, but this is minute day, be five,

757
00:43:19,120 --> 00:43:23,200
Speaker 1: go faster or anything like. And the second thing that

758
00:43:23,280 --> 00:43:28,319
Speaker 1: I find is very useful is when you're young. Uh.

759
00:43:28,840 --> 00:43:31,160
Speaker 1: That biography that we were talking about, I wrote them

760
00:43:31,200 --> 00:43:33,640
Speaker 1: from chronos on and I would go and talk to

761
00:43:33,760 --> 00:43:38,200
Speaker 1: the actor about this is the moment when you remember

762
00:43:38,280 --> 00:43:42,400
Speaker 1: that you were a child, and all these introspections, and

763
00:43:43,120 --> 00:43:45,759
Speaker 1: I finally realized that they don't want something to think,

764
00:43:46,239 --> 00:43:50,320
Speaker 1: they want something to do. They need an action. You

765
00:43:50,440 --> 00:43:52,719
Speaker 1: need an action. You need to know where you are

766
00:43:52,840 --> 00:43:55,080
Speaker 1: to be present. Because they answaid that about Brandy. He

767
00:43:55,120 --> 00:43:57,200
Speaker 1: said he started to talk to like five or six

768
00:43:57,280 --> 00:43:59,480
Speaker 1: words in Brandy were kind of mumbling not and walk

769
00:43:59,520 --> 00:44:01,040
Speaker 1: away because we need it was the first five or

770
00:44:01,080 --> 00:44:04,480
Speaker 1: six words you go in and if you if your

771
00:44:04,560 --> 00:44:08,320
Speaker 1: direction needs more than a minute, is the wrong direction. Whatever.

772
00:44:08,520 --> 00:44:10,800
Speaker 1: And it took him in and said, look, try this.

773
00:44:11,719 --> 00:44:15,360
Speaker 1: For example, I'll tell you listen to her lines, and

774
00:44:15,800 --> 00:44:18,000
Speaker 1: only when she says this, look at her in the eyes.

775
00:44:18,520 --> 00:44:21,759
Speaker 1: That changes the dynamic because you're ruffling paper, but it's

776
00:44:21,840 --> 00:44:25,160
Speaker 1: an action. And then you look at her and there's

777
00:44:25,200 --> 00:44:29,120
Speaker 1: contract or. In Shape of Water, for example, there's a

778
00:44:29,160 --> 00:44:33,600
Speaker 1: scene with Richard Jenkins and and Sally where she's explaining

779
00:44:33,680 --> 00:44:37,480
Speaker 1: to him how she feels when the creature looks at

780
00:44:37,520 --> 00:44:41,799
Speaker 1: her and sees her for what she is. And they

781
00:44:41,920 --> 00:44:44,200
Speaker 1: love that scene, and they rehearsed it over and over

782
00:44:44,280 --> 00:44:47,160
Speaker 1: and over and over again, and the day we did it,

783
00:44:47,400 --> 00:44:49,920
Speaker 1: it was dead because they had rehearsed it so much.

784
00:44:50,520 --> 00:44:53,400
Speaker 1: So there was a moment where she grabbed him and

785
00:44:53,480 --> 00:44:56,640
Speaker 1: I said, slap him really hard, and I didn't tell

786
00:44:56,719 --> 00:44:59,680
Speaker 1: him she was lapping him really hard, and you can

787
00:44:59,719 --> 00:45:03,760
Speaker 1: see he was only alive. And I think you do things,

788
00:45:04,280 --> 00:45:08,680
Speaker 1: you don't instructor simulate things, and that shakes the things

789
00:45:08,800 --> 00:45:11,160
Speaker 1: very nicely. Nicholson told me that. I said, what was

790
00:45:11,200 --> 00:45:14,960
Speaker 1: it like to do Chinatown with? Obviously Polanski, the legendary

791
00:45:15,000 --> 00:45:18,160
Speaker 1: director directing. And there's John Houston in the cast, who's

792
00:45:18,200 --> 00:45:23,160
Speaker 1: the legendary director. And Nicholson said that Houston called would

793
00:45:23,280 --> 00:45:28,560
Speaker 1: refer to Polanski's Roman Roman. You called him Roman and

794
00:45:28,960 --> 00:45:31,360
Speaker 1: and he said that, uh, Polanski would hold forth and

795
00:45:31,360 --> 00:45:34,440
Speaker 1: say all these things, and Houston would say, now, Roman,

796
00:45:34,520 --> 00:45:37,840
Speaker 1: there really are only two directions, a little more and

797
00:45:37,920 --> 00:45:44,920
Speaker 1: a little less. Fact this is John Houston. I'm I'm

798
00:45:44,960 --> 00:45:47,760
Speaker 1: gonna take that. I'm gonna take that under advisement. There's something,

799
00:45:47,840 --> 00:45:50,920
Speaker 1: there's something I think that as you, as you continue

800
00:45:52,200 --> 00:45:56,680
Speaker 1: your craft, simplicitly reveals itself to be the way. Yeah

801
00:45:57,880 --> 00:46:02,080
Speaker 1: in best cases, and the younger you are, the more

802
00:46:02,360 --> 00:46:05,040
Speaker 1: you think the most baroque solution is the good one,

803
00:46:05,120 --> 00:46:08,239
Speaker 1: and sometimes it is, but you learn to identify it.

804
00:46:09,320 --> 00:46:11,640
Speaker 1: So before we talk about Shape Reporters specifically, which is

805
00:46:11,680 --> 00:46:14,360
Speaker 1: your latest triumph, I want to say that whenever I

806
00:46:14,440 --> 00:46:17,200
Speaker 1: want to have I'm gonna say something very very personal now,

807
00:46:17,760 --> 00:46:19,960
Speaker 1: and I'm almost embarrassed to say this, but I can't

808
00:46:19,960 --> 00:46:21,760
Speaker 1: help it with you here. I say, you know, whatever,

809
00:46:21,800 --> 00:46:23,160
Speaker 1: I want to have sex with my wife, I go

810
00:46:23,360 --> 00:46:27,759
Speaker 1: like this, and I go like this, you do. And

811
00:46:27,920 --> 00:46:30,080
Speaker 1: we have four kids in four and a half years.

812
00:46:31,920 --> 00:46:36,560
Speaker 1: It works like a charm. I just don't it's actually

813
00:46:36,680 --> 00:46:41,000
Speaker 1: like this down and she saw the movie with me.

814
00:46:41,120 --> 00:46:46,160
Speaker 1: She's like, oh, okay, they're gi Gamo so um. The

815
00:46:46,360 --> 00:46:49,200
Speaker 1: the described to me because obviously this is a great

816
00:46:49,200 --> 00:46:52,600
Speaker 1: triumph for you. The genesis of that film, well, I was.

817
00:46:54,640 --> 00:46:57,080
Speaker 1: I'm always one of the things that I've always believed

818
00:46:57,200 --> 00:46:59,879
Speaker 1: is that you should not make the movies you need,

819
00:47:00,960 --> 00:47:04,200
Speaker 1: but the movies that need you that they wouldn't exist

820
00:47:04,280 --> 00:47:07,200
Speaker 1: if you didn't make that, you know. I think that's

821
00:47:07,840 --> 00:47:11,640
Speaker 1: that's where your boys really resides, in doing the things

822
00:47:11,719 --> 00:47:13,959
Speaker 1: that you want to see but no one is doing,

823
00:47:14,640 --> 00:47:18,680
Speaker 1: you know. I find it completely terrifying when people say, well,

824
00:47:18,719 --> 00:47:22,680
Speaker 1: we're doing this because this other movie was successful. That's terrifying.

825
00:47:23,320 --> 00:47:25,880
Speaker 1: And I fell in love with the Creature from the

826
00:47:25,920 --> 00:47:29,160
Speaker 1: Black Lagoon when I was a very small kid, and

827
00:47:29,520 --> 00:47:33,120
Speaker 1: something happened because I saw the creature swimming under Julie

828
00:47:33,120 --> 00:47:36,120
Speaker 1: Adams and I thought, this is this is poetry. I

829
00:47:36,280 --> 00:47:40,400
Speaker 1: was a little kid, and I felt this standal syndrome exstasis,

830
00:47:40,480 --> 00:47:43,640
Speaker 1: you know, of the pure beauty. And then later I

831
00:47:43,760 --> 00:47:47,440
Speaker 1: was watching The Seven Year Itch with Marilyn Monroe and

832
00:47:47,520 --> 00:47:49,839
Speaker 1: Marilyn Monroe comes out of seeing creature from the lack

833
00:47:49,920 --> 00:47:52,759
Speaker 1: lagoon and says, the creature just needed a little love.

834
00:47:53,040 --> 00:47:57,000
Speaker 1: And I fell in love with Marilyn and those that

835
00:47:57,200 --> 00:48:01,560
Speaker 1: collision so that I thought, I've always loved monsters, and

836
00:48:01,640 --> 00:48:05,360
Speaker 1: I always wanted why because I think I think that

837
00:48:05,680 --> 00:48:09,640
Speaker 1: what we were freedom. No. Well, the we live in

838
00:48:09,680 --> 00:48:15,719
Speaker 1: a world that right now also tends to and I

839
00:48:15,800 --> 00:48:18,719
Speaker 1: think this is a very narcissistic trade, tends to do

840
00:48:18,840 --> 00:48:22,400
Speaker 1: what I caught on me between black or white, and

841
00:48:22,920 --> 00:48:26,040
Speaker 1: nobody is black or white. Everybody, all of us, exists

842
00:48:26,360 --> 00:48:29,520
Speaker 1: in between. We are, we have the right to be

843
00:48:29,680 --> 00:48:33,680
Speaker 1: polychrome and have any color we need. At ten am

844
00:48:33,760 --> 00:48:37,320
Speaker 1: and a motherfucker a dwell, I'm a saint. At one thirty,

845
00:48:37,840 --> 00:48:42,239
Speaker 1: I'm a boogie dancer, a three fifty. We are. We

846
00:48:42,400 --> 00:48:47,400
Speaker 1: are complex creatures, and I find that monsters give you.

847
00:48:47,600 --> 00:48:52,520
Speaker 1: You call my wife right now, I'll say it's it's

848
00:48:52,520 --> 00:48:55,920
Speaker 1: gonna booty here. I'm a polychrome. I'm a polychrome. So

849
00:48:56,000 --> 00:49:00,640
Speaker 1: we are, and I think monsters, we we live right

850
00:49:00,719 --> 00:49:03,640
Speaker 1: now in a in a way where media tells us

851
00:49:04,280 --> 00:49:07,080
Speaker 1: two to be perfect in so many ways. The traditional

852
00:49:07,200 --> 00:49:10,279
Speaker 1: ones you have, you have to have perfect hair, perfect Keith.

853
00:49:10,760 --> 00:49:13,160
Speaker 1: Never let them see you sweat. No, no, no, no, no,

854
00:49:13,680 --> 00:49:17,839
Speaker 1: let me sweat, motherfucker. Let me let me have crooked teeth,

855
00:49:18,280 --> 00:49:20,799
Speaker 1: let me having perfect hair. I don't give a funk.

856
00:49:20,880 --> 00:49:23,600
Speaker 1: I want to be a good human being. There's no

857
00:49:23,719 --> 00:49:27,160
Speaker 1: commercials for that, you know. And and I really think,

858
00:49:28,640 --> 00:49:37,360
Speaker 1: I really think that monsters, monsters allow imperfection to be scentified. We,

859
00:49:38,120 --> 00:49:41,800
Speaker 1: as I said once and I repeated, is imperfection is

860
00:49:41,840 --> 00:49:44,960
Speaker 1: a goal that we can all aspire to, and it's

861
00:49:45,000 --> 00:49:48,560
Speaker 1: all inclusive. If we all agree, if we right now

862
00:49:48,719 --> 00:49:51,480
Speaker 1: is a world we agree that we're all fucked up

863
00:49:51,520 --> 00:49:54,560
Speaker 1: in some way. Now we're all imperfect, we would get

864
00:49:54,600 --> 00:49:58,040
Speaker 1: along better and there would not be this in the

865
00:49:58,320 --> 00:50:04,040
Speaker 1: tyranny of perfection is repulsive. A certain embody type, a

866
00:50:04,160 --> 00:50:12,480
Speaker 1: certain lifestyle, a certain goal is torture, is absolute mental torture.

867
00:50:12,600 --> 00:50:17,200
Speaker 1: These things. No one can live in those standards, whereas

868
00:50:17,320 --> 00:50:21,279
Speaker 1: in standards of imperfection, everybody can live. And I find

869
00:50:21,320 --> 00:50:25,400
Speaker 1: these monsters so moving because they embody that For me,

870
00:50:26,000 --> 00:50:29,839
Speaker 1: they embodied the other in a way that nothing else does.

871
00:50:29,960 --> 00:50:31,960
Speaker 1: So what was the beginning of shape of for the

872
00:50:32,040 --> 00:50:36,240
Speaker 1: beginning was I wanted. I wanted to tell the story

873
00:50:36,360 --> 00:50:40,640
Speaker 1: of a b monster movie told as a love story,

874
00:50:40,719 --> 00:50:45,680
Speaker 1: directed by Douglas Sirk. I wanted to make a movie

875
00:50:45,719 --> 00:50:51,919
Speaker 1: about the love of movies, musicals and about how love

876
00:50:52,280 --> 00:50:57,959
Speaker 1: is not about change. I find this fable of beauty

877
00:50:58,040 --> 00:51:02,320
Speaker 1: and to be so terrifying, and it's so tortuous because

878
00:51:02,680 --> 00:51:06,600
Speaker 1: it means you meet somebody and they have to transform

879
00:51:07,880 --> 00:51:11,279
Speaker 1: once you love them. Fuck that. I think the key

880
00:51:11,520 --> 00:51:17,239
Speaker 1: is that you identify imperfections or or you identify an

881
00:51:17,400 --> 00:51:21,800
Speaker 1: essence and you connect with that essence and it wants

882
00:51:22,360 --> 00:51:25,600
Speaker 1: and I wanted somebody in my in my version of

883
00:51:25,719 --> 00:51:29,920
Speaker 1: the movie, she's always been not human, She's always been

884
00:51:30,280 --> 00:51:33,239
Speaker 1: an amphibian of some sort, and she sees him and

885
00:51:33,719 --> 00:51:37,640
Speaker 1: recognizes an essence. To me, that's a lot you co wrote,

886
00:51:38,000 --> 00:51:41,600
Speaker 1: yeah with with Vanessa and and I thought that was

887
00:51:42,360 --> 00:51:46,200
Speaker 1: very moving. And of course the first budget we did

888
00:51:46,360 --> 00:51:50,279
Speaker 1: was thirty five million. And I went to say, would

889
00:51:50,280 --> 00:51:53,719
Speaker 1: you like to mega Creature from the Lack Lagoon as

890
00:51:53,760 --> 00:51:58,160
Speaker 1: directed by Douglas and in black and white originally? And

891
00:51:58,560 --> 00:52:02,320
Speaker 1: Sarchily said in black and white fifteen million, in color

892
00:52:02,440 --> 00:52:06,600
Speaker 1: nine five and I said I'll take color and and

893
00:52:06,880 --> 00:52:09,880
Speaker 1: and and uh, and I started it took a while

894
00:52:09,960 --> 00:52:14,080
Speaker 1: to crack it. But buts of the writer, Yeah, because

895
00:52:14,160 --> 00:52:16,000
Speaker 1: my next strive for people that are directors as well.

896
00:52:16,280 --> 00:52:18,960
Speaker 1: What's that processing you've written how many screenplayers? Or cover

897
00:52:19,160 --> 00:52:22,040
Speaker 1: twenty eight? You are a writer director of the the

898
00:52:22,120 --> 00:52:24,480
Speaker 1: highest order. When you're co writing with somebody, do you

899
00:52:24,560 --> 00:52:26,120
Speaker 1: just have a natural battery with him? But do you

900
00:52:26,200 --> 00:52:27,960
Speaker 1: sometimes have from contact with him? But I don't know

901
00:52:28,040 --> 00:52:31,480
Speaker 1: what I say. I always started by writing an outline

902
00:52:31,960 --> 00:52:36,680
Speaker 1: that is between seventy pages, and that's the outline. And

903
00:52:36,800 --> 00:52:39,799
Speaker 1: then or it's almost the first draft. Then I gave

904
00:52:39,880 --> 00:52:43,360
Speaker 1: it to them and say, do whatever you want, whatever

905
00:52:43,480 --> 00:52:46,400
Speaker 1: you want, don't tell me what's wrong, don't call me,

906
00:52:47,239 --> 00:52:50,480
Speaker 1: just do whatever you want. We can always undo. But

907
00:52:50,719 --> 00:52:53,960
Speaker 1: if I don't give you this freedom, I'll never know

908
00:52:54,160 --> 00:52:57,279
Speaker 1: what you want on adults really feah, you will be

909
00:52:57,360 --> 00:53:01,000
Speaker 1: executing what I want. So the co writer whatever they want.

910
00:53:01,640 --> 00:53:04,160
Speaker 1: Then it comes back and I either love it or

911
00:53:04,239 --> 00:53:08,320
Speaker 1: hate it. Yes, yeah, But then then I go it

912
00:53:08,400 --> 00:53:10,800
Speaker 1: should have been this other thing, or I go, this

913
00:53:10,960 --> 00:53:13,680
Speaker 1: is fantastic. I would have never thought about it, and

914
00:53:13,920 --> 00:53:18,160
Speaker 1: and and and there is sometimes um. For example, I

915
00:53:18,280 --> 00:53:22,120
Speaker 1: write twenty thirty pages, just a beat cheap. And then

916
00:53:22,280 --> 00:53:25,440
Speaker 1: they do the first draft and then I react. I

917
00:53:25,480 --> 00:53:29,680
Speaker 1: mean it varies, Kathy, I do I write for actors?

918
00:53:30,560 --> 00:53:32,640
Speaker 1: I write this. You see actors in the in the

919
00:53:32,880 --> 00:53:34,960
Speaker 1: in the in the in the in the constellation. I

920
00:53:35,080 --> 00:53:40,480
Speaker 1: kept just hold on, is that you, sweetie? I'm on

921
00:53:40,640 --> 00:53:42,799
Speaker 1: stage right now. Hold on, gear Molto Toro is gonna

922
00:53:42,960 --> 00:53:48,319
Speaker 1: tell you something very important right now? Hey, therey good?

923
00:53:48,400 --> 00:53:55,680
Speaker 1: Maybe an alec is polychrome. It will explain one against

924
00:53:55,719 --> 00:54:14,080
Speaker 1: home and got better. I'll say good, but I'll get howey.

925
00:54:14,160 --> 00:54:16,480
Speaker 1: I'm on stage in front of hundreds of people, and

926
00:54:16,560 --> 00:54:18,800
Speaker 1: I just gave to all the cash I had in

927
00:54:18,840 --> 00:54:22,759
Speaker 1: my pocket for first. I'm a polychrome, Honey, Okay, I'm

928
00:54:22,760 --> 00:54:25,120
Speaker 1: a polycrol. I gotta call you back over, okay, Sweete,

929
00:54:25,120 --> 00:54:27,960
Speaker 1: I gotta claim it. Uh in about half an hour

930
00:54:28,120 --> 00:54:43,399
Speaker 1: by um do hand. I'm okay. I thought I could

931
00:54:43,400 --> 00:54:46,719
Speaker 1: become a producer on your next movie. But but they're

932
00:54:46,719 --> 00:54:49,719
Speaker 1: a little back in. But you know the process for me.

933
00:54:50,600 --> 00:54:52,120
Speaker 1: But do you see if you always gonna say before

934
00:54:52,120 --> 00:54:54,879
Speaker 1: we were so rudely interrupted, was that do you see

935
00:54:54,960 --> 00:54:56,640
Speaker 1: like this pantheon of actors? I think you want to

936
00:54:56,680 --> 00:54:59,399
Speaker 1: work with, and you go and you write for them. Yeah.

937
00:54:59,520 --> 00:55:02,560
Speaker 1: I saw Sally Hawkins and I thought, this is the

938
00:55:02,680 --> 00:55:09,880
Speaker 1: most powerful presence I've seen in ages, so empathetics, it's amazing,

939
00:55:10,360 --> 00:55:13,640
Speaker 1: and I thought, I'm gonna write for her. I didn't know.

940
00:55:17,040 --> 00:55:21,360
Speaker 1: She's fantastic, and I love when she says she doesn't

941
00:55:21,440 --> 00:55:26,480
Speaker 1: say perfume. She says, I remember, but she she's so specific.

942
00:55:26,920 --> 00:55:29,440
Speaker 1: She's for me a genius. And I wrote it for her,

943
00:55:30,000 --> 00:55:33,120
Speaker 1: And then if it doesn't happen with them, I don't

944
00:55:33,160 --> 00:55:36,120
Speaker 1: make the movie. I really don't see the point of doing.

945
00:55:36,160 --> 00:55:40,000
Speaker 1: You do somebody else, Michael Shannon. Shannon wrote it for

946
00:55:40,120 --> 00:55:43,200
Speaker 1: Shannon because I think Shannon is one of the top

947
00:55:43,360 --> 00:55:48,839
Speaker 1: five actors working today, and he has an amazing he has.

948
00:55:49,200 --> 00:55:53,960
Speaker 1: He has such a control, uh the smallest gesture, and

949
00:55:54,040 --> 00:55:57,080
Speaker 1: he's incredibly precise. You know, he's the opposite like he

950
00:55:57,520 --> 00:56:00,600
Speaker 1: he always matches everything, which I had work, but but

951
00:56:00,840 --> 00:56:05,239
Speaker 1: he he also gives you different colors. And so Octavia,

952
00:56:05,880 --> 00:56:08,360
Speaker 1: every every actor I write for, I've been doing that

953
00:56:08,480 --> 00:56:12,920
Speaker 1: since Chronos. I wrote hell Boy specifically for Rom Brahman

954
00:56:13,440 --> 00:56:17,960
Speaker 1: and and and we waited eight years. Everybody said no, no, no,

955
00:56:19,160 --> 00:56:22,640
Speaker 1: they said who was the star Ron Brahman. No, and

956
00:56:23,000 --> 00:56:24,879
Speaker 1: and I knew he was the only guy that could

957
00:56:24,920 --> 00:56:27,839
Speaker 1: do it. And he was your al pacino. Yes, yes,

958
00:56:28,320 --> 00:56:31,560
Speaker 1: he is my compatrio man and and and uh and

959
00:56:32,520 --> 00:56:34,719
Speaker 1: what you were talking about the video When we were

960
00:56:34,719 --> 00:56:38,040
Speaker 1: shooting Chronos, he says, you have video assists? I don't know.

961
00:56:38,880 --> 00:56:41,319
Speaker 1: And then one day we finished take three or four

962
00:56:41,760 --> 00:56:44,239
Speaker 1: and says, oh, can we do one more? I said no,

963
00:56:44,880 --> 00:56:49,120
Speaker 1: we're out of what I said film, literally, you don't

964
00:56:49,160 --> 00:56:51,520
Speaker 1: have any more real I love Shannon because you know,

965
00:56:51,719 --> 00:56:54,320
Speaker 1: enacting this, you see people who and and they have

966
00:56:54,480 --> 00:56:55,960
Speaker 1: the gift, they have the ability. I don't want to

967
00:56:56,040 --> 00:56:58,319
Speaker 1: name names, but they stay in a certain genre because

968
00:56:58,360 --> 00:57:00,360
Speaker 1: that's what works, and that's what they can pay to

969
00:57:00,440 --> 00:57:03,600
Speaker 1: doo and uh. But then when they deviate, sometimes you

970
00:57:03,680 --> 00:57:06,759
Speaker 1: see uh, you know, startling results when they kind of

971
00:57:06,800 --> 00:57:09,239
Speaker 1: get off their their normal tracks. And Shannon, when he

972
00:57:09,280 --> 00:57:12,520
Speaker 1: plays the negative value, he still realizes that it's it's

973
00:57:12,640 --> 00:57:15,560
Speaker 1: it's it's storytelling. I don't see a bad guy, but

974
00:57:15,719 --> 00:57:19,880
Speaker 1: he's I think he is the rare guy that to me, okay,

975
00:57:20,160 --> 00:57:24,840
Speaker 1: he brings vulnerability to the bad guys and menace to ye.

976
00:57:25,480 --> 00:57:29,080
Speaker 1: And what I love. Uh. When I was talking to

977
00:57:29,280 --> 00:57:32,520
Speaker 1: him on the beginning, he said, is this a bad guy?

978
00:57:32,560 --> 00:57:34,800
Speaker 1: He said, no, I think to me, he is the

979
00:57:34,920 --> 00:57:38,360
Speaker 1: most the loneliest character in the film, right. I think

980
00:57:38,400 --> 00:57:41,120
Speaker 1: in fact, for me, in Shape of Water, he is

981
00:57:41,200 --> 00:57:45,520
Speaker 1: the only lonely character in the movie. He's He's completely

982
00:57:46,120 --> 00:57:48,720
Speaker 1: the loneliest and that gave him the key. It's like

983
00:57:48,800 --> 00:57:53,400
Speaker 1: Michael Madison and Free Willie. You think of Michael Madison

984
00:57:53,480 --> 00:57:56,000
Speaker 1: in this pure jerky through you. That's the stupidest thing

985
00:57:56,040 --> 00:57:58,560
Speaker 1: I've ever heard of in my life. He's torturing people

986
00:57:58,600 --> 00:58:01,760
Speaker 1: in Tarantino movie. When you watch you, oh, this is perfect,

987
00:58:01,800 --> 00:58:05,360
Speaker 1: it's beautiful, you know, to bring that color. I'm very

988
00:58:06,120 --> 00:58:10,120
Speaker 1: I was very attracted to making a story. Uh. I've

989
00:58:10,160 --> 00:58:12,600
Speaker 1: always fascinated. I'm fascinated by the bad guys. For me,

990
00:58:12,960 --> 00:58:16,680
Speaker 1: for example, Crimson Peak, I made it because of the

991
00:58:16,760 --> 00:58:21,360
Speaker 1: bad guys. Jessica's the staining his character and Thomas Charp,

992
00:58:21,440 --> 00:58:27,320
Speaker 1: which is uh a beautiful, flawed characters that I feel

993
00:58:27,360 --> 00:58:31,400
Speaker 1: the tragedy of them. I think the writing for an

994
00:58:31,440 --> 00:58:35,880
Speaker 1: actress specifically, I wrote for Jessica, you know, and it

995
00:58:36,040 --> 00:58:39,600
Speaker 1: was very specific. She was the pillar for that project.

996
00:58:40,120 --> 00:58:43,120
Speaker 1: When you have great when guys commit and they play

997
00:58:43,200 --> 00:58:45,600
Speaker 1: those parts. I mean there's a lot of bad guys

998
00:58:45,640 --> 00:58:48,320
Speaker 1: in some of your films, and then they play those parts.

999
00:58:48,560 --> 00:58:50,480
Speaker 1: It's just so thrilling to me. You know, like like

1000
00:58:50,560 --> 00:58:54,600
Speaker 1: even a movie that's an insane you know, car crash,

1001
00:58:54,880 --> 00:58:58,040
Speaker 1: like the Human Centipede. Oh my god, but you see

1002
00:58:58,080 --> 00:58:59,760
Speaker 1: the guy who's the bad guy on that and you're

1003
00:58:59,760 --> 00:59:02,280
Speaker 1: like watching the movie and the guys like you say,

1004
00:59:02,360 --> 00:59:06,920
Speaker 1: a cor broke down, You are here and no one

1005
00:59:07,040 --> 00:59:12,200
Speaker 1: knows you are here in this area. Yes corbody you

1006
00:59:12,280 --> 00:59:15,240
Speaker 1: want to come in and use the phone, and there

1007
00:59:15,280 --> 00:59:20,640
Speaker 1: like yes, yes, because please come in. And this guy

1008
00:59:20,680 --> 00:59:25,000
Speaker 1: you can't take your eyes off. Hitchcock had that maxim

1009
00:59:25,080 --> 00:59:27,439
Speaker 1: which is true. The better the battle guy, the better

1010
00:59:27,520 --> 00:59:30,440
Speaker 1: the film. Yeah, you know, and I think Robert Walker,

1011
00:59:31,000 --> 00:59:35,920
Speaker 1: Robert Walker, you amazing and he he brought, as I mentioned,

1012
00:59:35,960 --> 00:59:43,919
Speaker 1: to the character Bruno, a sickness to that guy. Storyboarding you. Yeah.

1013
00:59:44,160 --> 00:59:48,000
Speaker 1: But but but when about your storyboarding my storyboarding, I said,

1014
00:59:48,000 --> 00:59:50,520
Speaker 1: I would imagine I draw myself, and I what I

1015
00:59:50,600 --> 00:59:54,680
Speaker 1: do is I hire someone to do nice story was

1016
00:59:54,880 --> 00:59:59,000
Speaker 1: for the budgeting for BFx companies, but the real story

1017
00:59:59,120 --> 01:00:02,959
Speaker 1: was on my doodles and the morning, I wake up early, early, early, early,

1018
01:00:03,440 --> 01:00:07,720
Speaker 1: and I put my earphones and play movie music and storyboard.

1019
01:00:08,400 --> 01:00:11,120
Speaker 1: Played movie music, movie music and storyboard, and then I

1020
01:00:11,560 --> 01:00:14,520
Speaker 1: read example of the movie music that takes you depends

1021
01:00:14,560 --> 01:00:17,520
Speaker 1: on the For example, with the with the Shape of Water,

1022
01:00:17,560 --> 01:00:21,120
Speaker 1: it was George de LaRue and Nino Rota and all

1023
01:00:21,120 --> 01:00:25,040
Speaker 1: those and and punched on Glove. Those were the soundtracks

1024
01:00:25,080 --> 01:00:27,320
Speaker 1: I would listen to. And and then I arrived to

1025
01:00:27,400 --> 01:00:30,800
Speaker 1: the set an hour and a half before anyone, not

1026
01:00:31,000 --> 01:00:35,160
Speaker 1: my VP. And I walked the set and I grab

1027
01:00:35,200 --> 01:00:38,360
Speaker 1: a little uh staircase and I climb a little because

1028
01:00:39,040 --> 01:00:42,280
Speaker 1: through the years what happened to me is the still

1029
01:00:42,360 --> 01:00:45,840
Speaker 1: photographer after the day were over, you would look at

1030
01:00:45,840 --> 01:00:48,320
Speaker 1: the stil photography and they had better angles than you,

1031
01:00:49,000 --> 01:00:51,200
Speaker 1: and you go, why am I so lazy that I

1032
01:00:51,280 --> 01:00:53,960
Speaker 1: didn't see this? So I arrived now an hour and

1033
01:00:53,960 --> 01:00:56,520
Speaker 1: a half early, and I make sure I get better

1034
01:00:56,600 --> 01:00:59,680
Speaker 1: angles and the still and I walk along. I walked

1035
01:00:59,720 --> 01:01:02,000
Speaker 1: up to the still talking about just don't tell anybody,

1036
01:01:03,120 --> 01:01:05,120
Speaker 1: but if you were to shoot this scene that, how

1037
01:01:05,200 --> 01:01:08,520
Speaker 1: weren't Yeah? And then it's just that and then the storyboards.

1038
01:01:08,720 --> 01:01:13,360
Speaker 1: What I do is I I I do thirty forty

1039
01:01:13,440 --> 01:01:17,760
Speaker 1: setups on the storyboards and then I ended, I literally

1040
01:01:17,920 --> 01:01:21,400
Speaker 1: ended on the storyboards. I can cut a scene there.

1041
01:01:21,480 --> 01:01:25,040
Speaker 1: I know what frame I mean, and I know which

1042
01:01:25,080 --> 01:01:27,959
Speaker 1: story was what I call meat and which is story

1043
01:01:28,120 --> 01:01:30,440
Speaker 1: was a gravy. I got this one can go and

1044
01:01:30,560 --> 01:01:34,200
Speaker 1: doesn't affect this one. And what I do is every day,

1045
01:01:34,800 --> 01:01:38,480
Speaker 1: every day I got the day before. So if you

1046
01:01:38,640 --> 01:01:41,600
Speaker 1: come in on Monday, the fourth week of my shoot,

1047
01:01:42,040 --> 01:01:46,040
Speaker 1: you will see the entire movie, the four weeks edited completely.

1048
01:01:46,080 --> 01:01:47,920
Speaker 1: I want to ask you about that, about the sacred

1049
01:01:48,040 --> 01:01:49,960
Speaker 1: moment of the actual editit. You know when you say

1050
01:01:50,000 --> 01:01:52,840
Speaker 1: that about uh, like, in whatever way I can or

1051
01:01:52,920 --> 01:01:55,480
Speaker 1: cannot influence, you know what happens on the set. In

1052
01:01:55,600 --> 01:01:57,480
Speaker 1: terms of the way we're going to do the scene.

1053
01:01:58,120 --> 01:02:01,000
Speaker 1: That thing you just said about me and gravy, I'll

1054
01:02:01,040 --> 01:02:03,400
Speaker 1: say to people, let's do the scene at three speeds. Yeah,

1055
01:02:03,640 --> 01:02:05,520
Speaker 1: through this at the pace that we we feel it.

1056
01:02:05,560 --> 01:02:07,120
Speaker 1: We're feeling our way through it. Let's do it a

1057
01:02:07,200 --> 01:02:09,880
Speaker 1: little faster than Let's really really give this scene the

1058
01:02:09,960 --> 01:02:12,120
Speaker 1: stick of like a racehorse analogy. We're gonna give the

1059
01:02:12,160 --> 01:02:13,920
Speaker 1: horse the stick all the way to the actually just

1060
01:02:14,040 --> 01:02:16,600
Speaker 1: bite the cues, take out the pause, really pace it up,

1061
01:02:16,880 --> 01:02:19,520
Speaker 1: because and then when we're shooting, I'll say, you can't

1062
01:02:19,560 --> 01:02:22,840
Speaker 1: love every scene. We can like him. But but let's

1063
01:02:22,880 --> 01:02:24,960
Speaker 1: let's if if the script says Bob pulls up in

1064
01:02:25,000 --> 01:02:27,440
Speaker 1: a taxi runs up the stairs to the hotel. Wannt

1065
01:02:27,440 --> 01:02:29,280
Speaker 1: we just pull the car up and walk into the hotel.

1066
01:02:29,360 --> 01:02:32,480
Speaker 1: If everything is a complete meal, yeah, you let's get

1067
01:02:32,520 --> 01:02:34,080
Speaker 1: that over so we can luxury and on the other

1068
01:02:34,120 --> 01:02:37,720
Speaker 1: stas now, I mean, obviously I hate the shots that

1069
01:02:37,760 --> 01:02:43,800
Speaker 1: I called the signfelds, which are an establishing I tried

1070
01:02:43,840 --> 01:02:47,560
Speaker 1: to avoid signfields I have. I have two signfields on

1071
01:02:47,640 --> 01:02:51,800
Speaker 1: Ben's Labyrinth. I want to do a movie with you

1072
01:02:51,880 --> 01:02:53,200
Speaker 1: one day, and I want to stand behind him. I

1073
01:02:55,920 --> 01:02:58,280
Speaker 1: but but what what what you were doing about is

1074
01:02:58,840 --> 01:03:02,200
Speaker 1: this is important? The rewards are there. So you have

1075
01:03:02,520 --> 01:03:05,680
Speaker 1: everything planned, and now you work with your actors, and

1076
01:03:05,800 --> 01:03:08,600
Speaker 1: now you improvise, and now you're discovered because you have

1077
01:03:08,680 --> 01:03:10,920
Speaker 1: a back complant. You know, you said, look, this is

1078
01:03:10,960 --> 01:03:14,640
Speaker 1: the way I know what happens. That morning I'm alone

1079
01:03:14,680 --> 01:03:16,520
Speaker 1: an hour and a half a board La la la,

1080
01:03:16,960 --> 01:03:18,840
Speaker 1: the DP comes in. I say, this is the way

1081
01:03:18,880 --> 01:03:21,240
Speaker 1: we're blocking, And I think the actors come in and

1082
01:03:21,360 --> 01:03:24,960
Speaker 1: we block, and then somebody will say, what if I

1083
01:03:25,040 --> 01:03:26,920
Speaker 1: sit down in the middle of this line. You know,

1084
01:03:27,080 --> 01:03:30,240
Speaker 1: that's a great idea or that's a terrible idea. Because

1085
01:03:30,280 --> 01:03:33,000
Speaker 1: of this, No, no, no. Also, I got a couple

1086
01:03:33,040 --> 01:03:34,760
Speaker 1: more questions because I don't know if we're gonna take

1087
01:03:34,800 --> 01:03:36,600
Speaker 1: questions from the audience. But I want, I want to

1088
01:03:36,600 --> 01:03:40,160
Speaker 1: say that that that the uh I mean obviously in

1089
01:03:40,240 --> 01:03:41,720
Speaker 1: the in the in the ark of your career where

1090
01:03:41,720 --> 01:03:44,320
Speaker 1: you're at this fantastic place over the last many years

1091
01:03:44,640 --> 01:03:49,520
Speaker 1: and doing all these really really very exotic films on

1092
01:03:49,600 --> 01:03:51,840
Speaker 1: a cinematic level. I mean, I mean very very You

1093
01:03:51,920 --> 01:03:54,600
Speaker 1: must have your choice of the directors of photography around

1094
01:03:54,600 --> 01:03:58,240
Speaker 1: the world. Do you do you what's your definition of like?

1095
01:03:58,440 --> 01:04:00,280
Speaker 1: Have you say, made films the same people eas over

1096
01:04:00,320 --> 01:04:04,200
Speaker 1: the years? Yeah, I repeat a lot. I with the

1097
01:04:04,280 --> 01:04:07,439
Speaker 1: DP is very simple. The relationship is very simple. I say,

1098
01:04:07,880 --> 01:04:11,040
Speaker 1: I choose the lens, the composition and the movement and

1099
01:04:11,200 --> 01:04:15,000
Speaker 1: the equipment, and you you do the light. You do

1100
01:04:15,120 --> 01:04:17,240
Speaker 1: whatever you want with the light because I trust your light.

1101
01:04:17,880 --> 01:04:20,320
Speaker 1: And now and then if they have an idea, we

1102
01:04:20,480 --> 01:04:26,240
Speaker 1: dis cause it. But but very muscular about yeah, very much,

1103
01:04:26,280 --> 01:04:29,320
Speaker 1: because to me, UH is a valet between the camera

1104
01:04:29,400 --> 01:04:32,240
Speaker 1: and the actors, because the camera is the eyes of

1105
01:04:32,320 --> 01:04:36,080
Speaker 1: the audience. Now, as Houston said, there are only two things.

1106
01:04:36,360 --> 01:04:39,360
Speaker 1: You can go closer or you can go away. And

1107
01:04:39,520 --> 01:04:41,240
Speaker 1: you can go up or you can go down. Those

1108
01:04:41,240 --> 01:04:45,280
Speaker 1: are simple choices. But when you for example, UH, I

1109
01:04:45,320 --> 01:04:49,560
Speaker 1: can tell you because it's music and symphony, a passage

1110
01:04:49,600 --> 01:04:52,080
Speaker 1: with a camera can be a largo or staccato or

1111
01:04:52,680 --> 01:04:56,960
Speaker 1: I remember, beauty. There's a beautiful shot in the first Math,

1112
01:04:57,040 --> 01:05:02,920
Speaker 1: Max George Miller did. He presents your mac cleaning preparing,

1113
01:05:03,040 --> 01:05:05,080
Speaker 1: and it's all close up. You don't see the guy,

1114
01:05:05,640 --> 01:05:10,680
Speaker 1: you see details, you know, and it's very very Prussian

1115
01:05:11,200 --> 01:05:15,280
Speaker 1: bam bam, you know. And then the car's crashed and

1116
01:05:15,400 --> 01:05:18,240
Speaker 1: Max this out of the car and he walks and

1117
01:05:18,360 --> 01:05:21,280
Speaker 1: the camera goes to him, pushes in and gives up

1118
01:05:21,840 --> 01:05:25,200
Speaker 1: and he removes his glasses. Looks better than this and

1119
01:05:25,640 --> 01:05:30,680
Speaker 1: wants that. And it's such a glorious, symphonic, balletic moment

1120
01:05:31,120 --> 01:05:34,440
Speaker 1: which you're revealed. And I always say the camera should

1121
01:05:34,520 --> 01:05:37,560
Speaker 1: never be accidental, should never be on. It looks good. No,

1122
01:05:38,000 --> 01:05:40,880
Speaker 1: what is it telling you? Is it taking you closer?

1123
01:05:40,920 --> 01:05:44,200
Speaker 1: You want to you know what actors, Brando used to say, right,

1124
01:05:44,640 --> 01:05:46,520
Speaker 1: if you want, if you want them to pay attention

1125
01:05:46,560 --> 01:05:49,200
Speaker 1: on whisper, and you do the same with the camera.

1126
01:05:49,800 --> 01:05:51,840
Speaker 1: Do you wanna do you want to listen a little?

1127
01:05:52,080 --> 01:05:55,400
Speaker 1: And I always keep the camera curious, like somebody that

1128
01:05:55,480 --> 01:05:57,360
Speaker 1: he is trying to get a better look at the scene.

1129
01:05:57,640 --> 01:06:00,040
Speaker 1: It's always I would make films with I mean, I

1130
01:06:00,120 --> 01:06:02,640
Speaker 1: had the great fortune to work with some of the

1131
01:06:02,680 --> 01:06:06,080
Speaker 1: greatest cinematographers in history and make these films with ball

1132
01:06:06,160 --> 01:06:09,640
Speaker 1: House and all these famous people attack Fujimoto and Wanderuis

1133
01:06:09,680 --> 01:06:12,439
Speaker 1: and Gia and stuff with great, great dps, too many

1134
01:06:12,480 --> 01:06:16,280
Speaker 1: to name. And we were John Tole and I found that,

1135
01:06:16,400 --> 01:06:19,440
Speaker 1: you know, many actors wanted to avail themselves of this

1136
01:06:19,520 --> 01:06:21,240
Speaker 1: kind of education on the set of the film over

1137
01:06:21,320 --> 01:06:24,800
Speaker 1: many years, to learn about lenses and cutting, crossing the line,

1138
01:06:24,960 --> 01:06:26,680
Speaker 1: and I was the opposite. They would say to me,

1139
01:06:26,760 --> 01:06:28,520
Speaker 1: you want to come and look through the lens and

1140
01:06:28,640 --> 01:06:29,800
Speaker 1: we want to show you. And I would look at

1141
01:06:29,800 --> 01:06:32,280
Speaker 1: them and go, I really don't care what you do. Uh,

1142
01:06:32,440 --> 01:06:33,960
Speaker 1: it's not gonna have any effect on what I do.

1143
01:06:34,080 --> 01:06:35,480
Speaker 1: I'm gonna do And I was like, you guys are

1144
01:06:35,480 --> 01:06:38,400
Speaker 1: the science departments, and I'm the acting department, and I

1145
01:06:38,480 --> 01:06:41,480
Speaker 1: did want to become self conscious about that, about acting

1146
01:06:41,600 --> 01:06:43,440
Speaker 1: for the camera in that kept it that way all

1147
01:06:43,520 --> 01:06:45,520
Speaker 1: this year, all my life. I've never changed. I just

1148
01:06:45,760 --> 01:06:47,480
Speaker 1: I just sit there and and go fellas you know,

1149
01:06:47,640 --> 01:06:51,200
Speaker 1: you want. Who gives a ship. So I'm gonna say

1150
01:06:51,240 --> 01:06:53,440
Speaker 1: I love you Mary, or bang you're dead, or what

1151
01:06:53,480 --> 01:06:55,320
Speaker 1: I'm gonna do. I just gotta focus on that. You

1152
01:06:55,440 --> 01:06:57,280
Speaker 1: focus on that. I'm going to focus on that. You know,

1153
01:06:57,480 --> 01:07:00,240
Speaker 1: I think that I think that the important thing for

1154
01:07:00,400 --> 01:07:04,520
Speaker 1: me with me, Well, no, I think that, uh, if

1155
01:07:04,680 --> 01:07:07,360
Speaker 1: that works for you, that will works for you and

1156
01:07:08,000 --> 01:07:12,000
Speaker 1: worked at me. Well, I I think I met with

1157
01:07:12,360 --> 01:07:15,600
Speaker 1: one of the great actors I think working today. I

1158
01:07:15,680 --> 01:07:18,800
Speaker 1: won't say the pain, but he said something I've launched

1159
01:07:18,840 --> 01:07:21,000
Speaker 1: that was very curious. We were having launched talking about

1160
01:07:21,360 --> 01:07:23,920
Speaker 1: how we work. I said, well, I like sometimes the

1161
01:07:24,000 --> 01:07:27,960
Speaker 1: camera leads, sometimes you lead. And we'll talk about and

1162
01:07:28,000 --> 01:07:29,760
Speaker 1: he said, I find that I do some of my

1163
01:07:29,840 --> 01:07:34,480
Speaker 1: best work my back to the camera. Very interesting. Yeah,

1164
01:07:35,480 --> 01:07:38,240
Speaker 1: you know, but but it actually I actually understood it.

1165
01:07:38,320 --> 01:07:41,040
Speaker 1: I Mean some of the some of the real emotion

1166
01:07:41,160 --> 01:07:45,280
Speaker 1: he could generate was when the camera was entered the frame,

1167
01:07:45,440 --> 01:07:47,360
Speaker 1: or that's savvy with the I mean, I've told the

1168
01:07:47,400 --> 01:07:49,440
Speaker 1: story before, so I forgive you. But that's savvy with

1169
01:07:49,480 --> 01:07:51,960
Speaker 1: the camera. I didn't movie with Tony Hopkins and the

1170
01:07:52,040 --> 01:07:55,080
Speaker 1: director at Lee Tammahy, he'd say, all right, not great,

1171
01:07:55,400 --> 01:07:58,240
Speaker 1: do this movie. We do this movie the Edge. We

1172
01:07:58,360 --> 01:08:01,200
Speaker 1: love that fire from water were fired from my expo

1173
01:08:01,360 --> 01:08:04,840
Speaker 1: from so so Tony happens there and Lee Tammer Howy says.

1174
01:08:05,280 --> 01:08:07,000
Speaker 1: He says, all right, Tony, you men are lost in

1175
01:08:07,080 --> 01:08:10,840
Speaker 1: the forest. He's from New Zealand. You're there. It's starving.

1176
01:08:10,880 --> 01:08:12,439
Speaker 1: You've got to try to find you out and find

1177
01:08:12,480 --> 01:08:15,680
Speaker 1: some sticks, make a fire, find something to eat. You're here,

1178
01:08:15,760 --> 01:08:18,120
Speaker 1: lost in the forest, Tony, would you have in mind?

1179
01:08:18,200 --> 01:08:21,840
Speaker 1: And literally Tony happened goes He says, I thought my

1180
01:08:21,960 --> 01:08:27,200
Speaker 1: character would walk over here and stand blue amongst his

1181
01:08:27,320 --> 01:08:32,599
Speaker 1: standard Douglas Firs, if the glacier fed stream spilling over

1182
01:08:32,680 --> 01:08:37,280
Speaker 1: my shoulder, heard of cariboo with the distance, and Tony

1183
01:08:37,320 --> 01:08:39,880
Speaker 1: would pick the spot that was the most picturesque spot

1184
01:08:40,120 --> 01:08:42,240
Speaker 1: and his character would walk over to that spot. On

1185
01:08:42,280 --> 01:08:45,400
Speaker 1: the scene of stand there, and Lee Tammer tamer Away

1186
01:08:45,400 --> 01:08:48,880
Speaker 1: we go Fantastic nine sizes aren't Tony over here quick

1187
01:08:48,920 --> 01:08:52,080
Speaker 1: pop of Alec time permitting over there nine cameras are

1188
01:08:52,200 --> 01:08:55,519
Speaker 1: Tony the glacier fed stream, the herd of Cariboo. Day two.

1189
01:08:55,840 --> 01:08:58,280
Speaker 1: All right, Tony you lost in the forest. You and

1190
01:08:58,360 --> 01:08:59,680
Speaker 1: Alec what do you hapen? One? And I thought I

1191
01:08:59,720 --> 01:09:04,520
Speaker 1: would will be here, stand on this massive grittic outcropping

1192
01:09:05,640 --> 01:09:09,000
Speaker 1: the gratia behind my shoulder, and you were fantastic crick

1193
01:09:09,040 --> 01:09:12,120
Speaker 1: pop of alectime permitting eighteen cameras on turning out here

1194
01:09:13,080 --> 01:09:17,800
Speaker 1: and he knew like that the set like what's the night?

1195
01:09:17,880 --> 01:09:20,720
Speaker 1: The juiciest most which looking part of the set. I

1196
01:09:20,840 --> 01:09:23,960
Speaker 1: think that you learned from every I mean when people

1197
01:09:24,080 --> 01:09:26,760
Speaker 1: say how do you learn directing? You learning every day

1198
01:09:26,960 --> 01:09:30,320
Speaker 1: from everything. Yeah. I think that's a discipline that comes

1199
01:09:30,360 --> 01:09:34,640
Speaker 1: from theater because your composition is your movement on the proscenium,

1200
01:09:34,960 --> 01:09:36,760
Speaker 1: and you do have the tendency where the where that

1201
01:09:36,880 --> 01:09:39,439
Speaker 1: the camera is like the proscenium where you're triangulating in

1202
01:09:39,520 --> 01:09:41,640
Speaker 1: the theater. I'm talking to you, but I'm kind of

1203
01:09:41,880 --> 01:09:44,200
Speaker 1: talking in the triumph to open up to them and

1204
01:09:44,280 --> 01:09:46,360
Speaker 1: you know what they're looking at, Yeah, the way you

1205
01:09:46,479 --> 01:09:51,280
Speaker 1: know how it looks. I think that I've I've developed

1206
01:09:51,400 --> 01:09:56,040
Speaker 1: video games, I have commanded animated series. I have because

1207
01:09:56,200 --> 01:09:59,799
Speaker 1: you learn from everything. Learning how to direct the attention

1208
01:10:00,080 --> 01:10:03,040
Speaker 1: the player on a video game gives you so many

1209
01:10:03,120 --> 01:10:05,920
Speaker 1: more verbs and solutions that you don't get. And as

1210
01:10:05,960 --> 01:10:08,800
Speaker 1: an actor is the same thing. I mean we are.

1211
01:10:09,040 --> 01:10:13,439
Speaker 1: We are basically spies that are socially inept, and we're

1212
01:10:13,520 --> 01:10:17,200
Speaker 1: observing everything and putting it in our pocket two use later.

1213
01:10:17,920 --> 01:10:21,519
Speaker 1: Like we're spies looking at how humans behave, what they do,

1214
01:10:21,720 --> 01:10:24,000
Speaker 1: what they don't do, where real drama comes from, and

1215
01:10:24,120 --> 01:10:26,560
Speaker 1: we put in a little pocket for later use. And

1216
01:10:27,120 --> 01:10:29,760
Speaker 1: when are you gonna learn a great moment? It can

1217
01:10:29,840 --> 01:10:32,720
Speaker 1: happen in a lightstop, you know, when you're looking at

1218
01:10:32,760 --> 01:10:36,040
Speaker 1: someone putting their makeup really quick or eating a sandwich

1219
01:10:36,479 --> 01:10:39,679
Speaker 1: and chain in the dial. It can happen at the dentist.

1220
01:10:39,680 --> 01:10:42,080
Speaker 1: Stuff is and you have to be always aware that

1221
01:10:42,800 --> 01:10:47,000
Speaker 1: nothing is alien to your craft. When people say I

1222
01:10:47,080 --> 01:10:50,320
Speaker 1: get bored on a line or waiting at the doctors,

1223
01:10:50,560 --> 01:10:52,800
Speaker 1: then you're not a director. You shouldn't give you more.

1224
01:10:52,840 --> 01:10:55,840
Speaker 1: You should be always watching someone in the wings. It

1225
01:10:55,880 --> 01:10:59,479
Speaker 1: is look at me, going shut the fuck up. Shut.

1226
01:11:00,400 --> 01:11:01,960
Speaker 1: We've run out of time. But I wanted to just

1227
01:11:02,160 --> 01:11:11,320
Speaker 1: two last quick questions. One is uh cridatile, but so so,

1228
01:11:11,439 --> 01:11:14,080
Speaker 1: I want to say, quickly, so you write and create

1229
01:11:14,120 --> 01:11:16,679
Speaker 1: your own stuff. And everybody talks about the Universal Library

1230
01:11:16,720 --> 01:11:18,400
Speaker 1: is going to come out again, the Horror Library if

1231
01:11:18,439 --> 01:11:20,160
Speaker 1: we do remixt you never want to do a remake

1232
01:11:20,200 --> 01:11:22,760
Speaker 1: of a famous harm of it, you know version I did.

1233
01:11:22,880 --> 01:11:26,840
Speaker 1: I tried. I actually pitched the love story of the

1234
01:11:26,920 --> 01:11:30,080
Speaker 1: Shape of Water basically from Creature. I went to university,

1235
01:11:30,120 --> 01:11:35,599
Speaker 1: I said, and they and then they screwed there with God,

1236
01:11:36,920 --> 01:11:40,880
Speaker 1: can we validate your parkings? There? No goodbye? But I

1237
01:11:41,280 --> 01:11:44,519
Speaker 1: was trying for many, many years. And I have an idea,

1238
01:11:44,560 --> 01:11:48,360
Speaker 1: of course, to do Frankenstein and Bribe in a particular way.

1239
01:11:48,880 --> 01:11:53,759
Speaker 1: But I don't think it's gonna happen. Look, I really

1240
01:11:53,920 --> 01:12:00,200
Speaker 1: believe that the things the movies I do most all

1241
01:12:00,240 --> 01:12:02,640
Speaker 1: the time, I do them because the premise is so

1242
01:12:03,400 --> 01:12:08,519
Speaker 1: absolutely bonkers. It's like I go, I say, I want

1243
01:12:08,560 --> 01:12:12,160
Speaker 1: to do a faery anti fascist fairy tale said against

1244
01:12:12,200 --> 01:12:17,320
Speaker 1: the backgroup of the Civil War in Spain. Yeah, it's

1245
01:12:17,320 --> 01:12:20,160
Speaker 1: a bloodbuster. I want to do a dogless, third directed

1246
01:12:20,400 --> 01:12:26,799
Speaker 1: sexual story about the creature. Yeah. Yeah. The the ideas

1247
01:12:26,880 --> 01:12:30,040
Speaker 1: to me is the combination of those flavors. And I

1248
01:12:30,240 --> 01:12:33,360
Speaker 1: don't think I can do a regular movie. I don't

1249
01:12:33,360 --> 01:12:35,920
Speaker 1: think I can. I mean everything, I don't, even the

1250
01:12:36,040 --> 01:12:40,280
Speaker 1: most commercially viable ones. You know, they have some weirdness

1251
01:12:40,960 --> 01:12:44,439
Speaker 1: in them. And I always try things that should not

1252
01:12:44,680 --> 01:12:47,840
Speaker 1: be done, and you do them because I do think this.

1253
01:12:48,680 --> 01:12:51,479
Speaker 1: When you're in a set and you have absorbed a

1254
01:12:51,560 --> 01:12:54,880
Speaker 1: hundred years of cinema, which you you you can and

1255
01:12:55,040 --> 01:12:59,640
Speaker 1: you are no matter what you your first instinct, the

1256
01:12:59,800 --> 01:13:02,280
Speaker 1: ray year or instinct is the wrong instinct. You have

1257
01:13:02,439 --> 01:13:04,880
Speaker 1: to stop and say, Okay, that's the way it would

1258
01:13:04,920 --> 01:13:07,160
Speaker 1: normally happen in that movie. What can we do that

1259
01:13:07,320 --> 01:13:10,519
Speaker 1: is different? And you stop yourself. You have to stop yourself.

1260
01:13:10,880 --> 01:13:12,439
Speaker 1: And the older you get, the more you want to

1261
01:13:12,479 --> 01:13:15,679
Speaker 1: go different. So I'm not sure that they willn't trust

1262
01:13:15,760 --> 01:13:18,599
Speaker 1: me with any legacy months maybe they want any more supportant.

1263
01:13:18,720 --> 01:13:20,040
Speaker 1: But let me just say this first of all, I've

1264
01:13:20,080 --> 01:13:22,800
Speaker 1: enjoyed doing this with you in measure because let's face

1265
01:13:22,880 --> 01:13:27,360
Speaker 1: text may never gonna invite me. That man I tell them,

1266
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Speaker 1: I mean, if you haven't seen him, is the greatest host,

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Speaker 1: but he's also the greatest guest I highly recommend his

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Speaker 1: episode of all of all episodes and comedians and cars

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Speaker 1: get thank you, Thank you Legacy. I mean, but I

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Speaker 1: want to finish. I want to finish by saying that

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Speaker 1: in my lifetime there are four or five directors who

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Speaker 1: bring a as I said, the artistic soul you know,

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Speaker 1: Copple is certainly one. I mean what they the gifts

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01:13:55,920 --> 01:13:59,799
Speaker 1: they have, the God given gifts, they have, their training,

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Speaker 1: their experience, uh, their dedication, all these things. This ineffable thing,

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01:14:04,760 --> 01:14:08,680
Speaker 1: this this magical thing, this soul of the artist that

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Speaker 1: has found its way to express itself at the highest

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Speaker 1: level of filmmaking. Ladies and gentlemen, give go job. The

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Speaker 1: Tribeca Film Festival takes place every year in New York City.

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01:14:25,840 --> 01:14:28,200
Speaker 1: To learn more about all of our programs, visit Tribeca

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Speaker 1: Film dot com. I'm Alec Baldwin and this is Here's

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Speaker 1: the thing.