Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.
Speaker 1: The Tribeca Film Festival is one of my favorite events
Speaker 1: of the year. It's an opportunity to watch movies and
Speaker 1: to hear from some of the finest directors and actors
Speaker 1: in the business discussing their work. The festival has just
Speaker 1: launched a new podcast, Tribeca Talks, which will allow all
Speaker 1: of us to listen in to the conversations that happen
Speaker 1: each year at Rebecca. Last year, I was lucky enough
Speaker 1: to sit down with director Guillermo Del Toro, and I'm
Speaker 1: pleased to present that conversation to my Here's the Thing audience,
Speaker 1: take a listen to Rebecca Film Festival's new podcast, Tribeca Talks.
Speaker 1: This is Tribeca Talks, our favorite conversations recorded live at
Speaker 1: the Tribeca Film Festival. I'm le SRB. Academy Award winning
Speaker 1: director Guillermo del Toro sat down with acclaimed actor Alec
Speaker 1: Baldwin as part of our twenty nineteen Director See These.
Speaker 1: Here's Tribeca CEO and co founder Jane Rosenthal with the introduction.
Speaker 1: It's my great honor tonight to introduce to you too.
Speaker 1: Amazing Cinophiles who are both masters at their craft. Giamma
Speaker 1: del Toro, as you know and many of you are
Speaker 1: fans of his work from Crimson Peak, Pacific, rim Hell
Speaker 1: Boy Pants, lambre Laid to Devil's Backbone, Chronos, and of
Speaker 1: course the Academy Award winning The Shape of Water. Joining
Speaker 1: him in conversation is a great friend of Tribeca and
Speaker 1: extraordinary actor producer, someone who I personally had the privilege
Speaker 1: of of watching him work up close when de Niro
Speaker 1: directed him in The Good Shepherd. Lately, the two have
Speaker 1: been collaborating on S and L in case you haven't
Speaker 1: seen that anyway, Ladies and gentlemen, please welcome Alec Baldwin
Speaker 1: and Gialla del Toro. M If I break the chair,
Speaker 1: which has happened, please help me get up. I was
Speaker 1: gonna say, if I break the chair which has happened,
Speaker 1: don't help me up. I'm gonna lay here and take
Speaker 1: a nap. You know. It happened then online television h
Speaker 1: until I came in with a three old time Alice
Speaker 1: and I said in the pool horrible and it's kind
Speaker 1: of flimsy. Well, um, it was amazing. Who's that guy
Speaker 1: with Marvin Davis was a guy. He was a big guy.
Speaker 1: And I came to an event once. It was some
Speaker 1: big fundraiser at the Beverly Hills Hotel years ago, and
Speaker 1: these guys came in with a big chair like a throne.
Speaker 1: It was this massive wooden carved chair with ornate faver
Speaker 1: I said, what's this. This is Mr Davis chair that
Speaker 1: he travels with everywhere. And they put the chair there
Speaker 1: at the table and he sat down, and I thought, man,
Speaker 1: that sounds like a great idea. I should have my
Speaker 1: own share. People carry around from it and believe it
Speaker 1: or not, is the first thing I look at because
Speaker 1: sometimes I don't fit them. I fit like a muffin,
Speaker 1: kind of like spilling. There's when I come to the
Speaker 1: edge of my kids aren't because they would put butter
Speaker 1: on you and eat you, right they I'm a good
Speaker 1: guy to travel for the and that plane. Now, now,
Speaker 1: speaking of affording your own chair, I think that you
Speaker 1: know your career is going so miserably lately. It's just
Speaker 1: so terrible what's been happening for you, and that maybe
Speaker 1: you can't afford your own chair it. I want to
Speaker 1: go back with you, and I want to go back
Speaker 1: because I was so ignorant about film education and how
Speaker 1: you begin a career like yours. And and apparently you
Speaker 1: took this with your father's Super eight camera when you
Speaker 1: were child, Right now I was. I was about eight,
Speaker 1: and my dad I used to get like he had
Speaker 1: a car dealership and sometimes people gave him technology as payment.
Speaker 1: This is Mexican the sixties and this you know, and
Speaker 1: and they gave him this camera and this projector. And
Speaker 1: I didn't know anything, but I started buying Super eight reels.
Speaker 1: They would condense a movie into one reel. So I
Speaker 1: bought the Crimson Altar with Boris Karlov, and I bought
Speaker 1: Night of the Demon, and I was projecting them and
Speaker 1: then I said what is the camera from? They said,
Speaker 1: that's what you make movies with. And before that I
Speaker 1: thought movies were something that happened and and somebody was
Speaker 1: there to record it something. Yeah, but they were things
Speaker 1: that happened. The people so just left on the look
Speaker 1: that Johan reptile destroying the city. And and and I
Speaker 1: started shooting. I started shooting those super aids. And where
Speaker 1: would you get the films? Like? What was the marketing? In?
Speaker 1: No Internet? They came in cartridges. And then you took
Speaker 1: that cartridge to the pharmacy and you deposited in the
Speaker 1: pharmacy and they said come back in seven days and
Speaker 1: they would send it to Mexico City. I lived in Wallahara,
Speaker 1: which is the second We were like an and and
Speaker 1: and they sent it on seven days later it came.
Speaker 1: And I tell you this, the the greatest drill I've
Speaker 1: ever had was the day I projected that first real
Speaker 1: because there was displacement I I said, I did, Dad,
Speaker 1: that is in the screen where I see the Crimson
Speaker 1: altar and I don't. And there was a magical moment.
Speaker 1: There's a there's a great story by Harlan Ellison called
Speaker 1: The Cheese stands Alone, and it's like that goes to
Speaker 1: a little antique shop and a guys tells him what
Speaker 1: is He says, what isn't that little box? And he says,
Speaker 1: if you open it, you'll know you'll relieve your greatest moment.
Speaker 1: If I'll be there years from now, or it may
Speaker 1: have already happened, I think that's my greatest moment. And
Speaker 1: he opens it and it's a home run. When he's
Speaker 1: seven and he knows now that he'll never never and
Speaker 1: that that rejecting of that super But but no cutting,
Speaker 1: no editing. You had to shoot you like Hitchcock with rope.
Speaker 1: You exactly one shot. That's what I was thinking. Yeah right, No,
Speaker 1: I was. I was just shooting my my toys and
Speaker 1: my actual toys killing each other. And I would throw
Speaker 1: I would make a plastics and guy fill it with
Speaker 1: ketchup and we'll do the roof and throw it and
Speaker 1: it would explode on the when when I was, when
Speaker 1: I was a kid, when my my neighbors had a camera,
Speaker 1: we were little boys, and one of them used to
Speaker 1: subscribe to it. I'm sure you remember this, because if
Speaker 1: you're famous, Monster is a film land magazine, and you
Speaker 1: could get the creature of the black lagoon hands and
Speaker 1: the head and everything. Yeah, I'm sure you did. I'm
Speaker 1: sure you had every one of them in here. No, No,
Speaker 1: I saved enough. I have the gorilla hands and the
Speaker 1: wolfman mask, which was not entirely accurate, but it worked.
Speaker 1: And then I bought you were mingling the species even
Speaker 1: and I had I I bought the gorilla feet, which
Speaker 1: made no sense, but they looked good, but I love them.
Speaker 1: They were done by don't don't post who was a
Speaker 1: great mask maker. But that in Famous Monsters and Mad
Speaker 1: Magazine is where I learned English, with a dictionary on
Speaker 1: the side and and watching in Sundays they would show
Speaker 1: Universal monster movies and I would listen to what they
Speaker 1: said and read the subtitles. And that's how I started.
Speaker 1: At seven, I was fluent in English thanks to Famous Monsters,
Speaker 1: Famous Monsters of Film Laine magazine. We would do these
Speaker 1: things in my and I would have the dracula drag
Speaker 1: on and the fangs, and of course it was silent.
Speaker 1: There was no sound and there was no cuttings. You
Speaker 1: see me holding the woman, which is like the girl
Speaker 1: who lived next door. She was like, you know, seven
Speaker 1: years old. And you see my friend like off camera,
Speaker 1: he's only bite around the neck because you see me
Speaker 1: go what and he's like, bide around. I'm like, oh,
Speaker 1: we ah. You know, if you guys go to Google
Speaker 1: and google for a moment, there's a photo of me
Speaker 1: with fangs and eyes drinking my sister's blood. And you
Speaker 1: remember the fires in California and recently my entire I
Speaker 1: have a collection of strange crap and it's two houses
Speaker 1: a strange crap with secret passages and the fires came
Speaker 1: very very close, and I escaped and the next day
Speaker 1: I came back and I picked up that photograph. This
Speaker 1: is what I want to say everyone to say. So
Speaker 1: when you started, uh, and you were a kid, did
Speaker 1: you Uh? You're doing this and you're experimenting, and of
Speaker 1: course you enjoy it, which I guess it's the one
Speaker 1: foundation of directing is you have to enjoy directing so
Speaker 1: hard and it's such a difficult and require so much patients.
Speaker 1: But when did you start to seriously right when you
Speaker 1: sort of write down? I already was right when I
Speaker 1: started the Super Eights. I was writing short horror stories,
Speaker 1: not very good, and recording them on a cassette. I
Speaker 1: would record a radio play because I was born in
Speaker 1: sixty four, so I when TV ended around nine thirty
Speaker 1: o'clock at night, we would lay on the on the
Speaker 1: kitchen and listen to radio novellas. You know. We would
Speaker 1: listen to radio plays. And there was one called the
Speaker 1: Turn Off the Light and listen, and there was another
Speaker 1: one called the Mad Monk, and this and that, and
Speaker 1: I would listen to this horror stories. So I said,
Speaker 1: I'm gonna write them and make them in little cassettes.
Speaker 1: And you know what happened is as a kid, I
Speaker 1: wanted to be this was my definition of her career.
Speaker 1: I wanted to be a marine biologist that lived by
Speaker 1: the sea, studied, studied the creatures of the sea, and
Speaker 1: wrote horror stories. And I when I found directly and
Speaker 1: said that tops it. It's better. I'm gonna do that.
Speaker 1: But but I started. I remember trying to emulate styles
Speaker 1: when I was a kid. Well, and it's always had
Speaker 1: this dichotomy. For English. I was fascinated when I was
Speaker 1: young by the precise adjectives that Bradbury would use no
Speaker 1: as a young reader. And in Spanish, for me, the
Speaker 1: two guys that captured the language in a way that
Speaker 1: is musical for me is one root for and Hogel
Speaker 1: Louis Borgez, where both they were tremendous when I was
Speaker 1: a kid, a big influence. But it's it took me
Speaker 1: so many years. When I write a screenplay in English.
Speaker 1: The thing that I be labored the most, and I
Speaker 1: think I finally got it right on Ship of Water
Speaker 1: was dialogue. Other than that, I finally you've got it rhinally, Yeah,
Speaker 1: because it's it's very it's very it's very it's very difficult.
Speaker 1: I understand. When I was writing Ship but Water, I
Speaker 1: was watching this beautiful documentary Salesman, which is in the
Speaker 1: sixties Bible sales I'm going to door to door because
Speaker 1: I wanted to get the rhythm of the language back then.
Speaker 1: And it's it's really it's music. And English is very percussive,
Speaker 1: and Spanish is very melodic. We say ten words and
Speaker 1: you guys say two or three. You know, we we
Speaker 1: say my wife or my wife is so stain and
Speaker 1: it could be very percussive to some that's like work
Speaker 1: for I'm afraid that's concussive. Concussive. It hurts, so I
Speaker 1: know it hurts. Sometimes it hurts like hell no, it's
Speaker 1: it's a different rhythm. No, no, no, Well, I mean
Speaker 1: I love scripture. People will send me a script. I was.
Speaker 1: I read a script recently that my uh my partner.
Speaker 1: I have a little kind of micro budget company. We
Speaker 1: produced a film and the writer director we we left
Speaker 1: at this opportunity because he did not have an equivalency
Speaker 1: of everybody's voice and the muscularity of their language. People
Speaker 1: who were simple spoke simply. There's other people who were
Speaker 1: very very intellectual. He was very kind of kind of
Speaker 1: ten dollar words and stuf forth and he and he
Speaker 1: gave a very specific voice in language to everybody, which
Speaker 1: I love. The writing dialogue is very difficult, for that
Speaker 1: is the that is the drama. I think dramaturgy is
Speaker 1: full of many structural things that you can learn, but
Speaker 1: the ear to make each person speak as a character
Speaker 1: completely formed and used, the idiosyncrasies and the mistakes or
Speaker 1: the charming or the overwrought, is really really the art.
Speaker 1: So when does your formal education down there, like when
Speaker 1: you're there? I mean, I hate to say this, but
Speaker 1: you know, in the United States, especially in my youth.
Speaker 1: I'm a lot older now, but in my youth, there
Speaker 1: was still the kind of you know, gleaming idea of
Speaker 1: Hollywood going up to Los Angeles. And now there's the
Speaker 1: diaspora of film production all over the United States. Now
Speaker 1: you know, in Atlanta and all this craziness. But when
Speaker 1: were in Mexico, what was the in Mexico? I was
Speaker 1: I was born and raising Wallahara, so there was no
Speaker 1: there's always in Mexico. When I was growing up, it
Speaker 1: was the capital Mexico City have everything we have to
Speaker 1: go there to learn. We have yeah, and they have
Speaker 1: the festivals blaa. So at one point a group of
Speaker 1: people in Wallahara we got together and we said, there's
Speaker 1: no school, let's create one. There's no festival, let's create one.
Speaker 1: That festival, which we created thirty five years ago, is
Speaker 1: now one of the biggest film festivals in Ina. And
Speaker 1: and uh the school, the schools still running and uh
Speaker 1: and that festival. The first year, I was one of
Speaker 1: the directors with a short film called on Alope, and
Speaker 1: I was the ticket salesman, the projections and the driver
Speaker 1: and pressure. And I think that I remember I told
Speaker 1: you no better on that popcorn, by the way, disappointed,
Speaker 1: I would do that, I would And I think the
Speaker 1: beauty of that. I learned to project. We had a
Speaker 1: center back then, you have no no video cassettes. So
Speaker 1: we had a Revival Club which every Saturday and Sunday
Speaker 1: we would project. We would organize a cycle of movies
Speaker 1: of Fellini, Hitchcock, Bunel uh. And for about eight years
Speaker 1: that was a big film education. But I'm an avid
Speaker 1: reader and n avid watcher, so I read anything I could.
Speaker 1: Under puberty hit and then my interests changed a little
Speaker 1: and I read a little less now when you when
Speaker 1: you're in film school, you attended the film school, Well,
Speaker 1: we created it and from what we did is the
Speaker 1: first jarity on film, so so you can get into
Speaker 1: the I was both the first year we brought teachers
Speaker 1: from Mexico mostly and the second year we were teaching.
Speaker 1: I thought I got film language, and I think, I
Speaker 1: love teaching. I do this day. I love teaching. I
Speaker 1: love explaining time for that, you know, I do it
Speaker 1: now and then I grew. I still do it now
Speaker 1: and then I have right now my focus is animation
Speaker 1: and I still go to Galalajara and I have we're
Speaker 1: creating an animation workshop for stop motion, and I created
Speaker 1: a couple of scholarships, and I still got to the
Speaker 1: animators and I tell them how to structure a screenplay.
Speaker 1: And I love when you explain something, you really learn it.
Speaker 1: When you directed your first feature, which was Chronos, you
Speaker 1: directed Chronos, you shot in Mexico City, Yeah, yeah, there was.
Speaker 1: There was. What what I would have liked as a career,
Speaker 1: I would have ambitioned and I would have loved was
Speaker 1: to be a weird guy in Wallallahara doing weird movies
Speaker 1: in genres in Wallallahara. So I wanted to do noir film,
Speaker 1: noir in my in my streets. I wanted to do
Speaker 1: horror in my streets. So Chronos came out of that.
Speaker 1: I wanted my I lived with my grandmother many many years.
Speaker 1: She was very, very Catholic and exercised me twice and
Speaker 1: I I we had a blamer, do you no, No,
Speaker 1: I would have done the same. I wish she had
Speaker 1: controlled my car intape. You know she didn't. She gave
Speaker 1: me a friend chicken, the least provocation for breakfasts on level.
Speaker 1: The thing is, I felt I wanted to tell a
Speaker 1: story of a grandfather and a granddaughter, and the grandfather
Speaker 1: was a vampire, and the granddaughter loved him no matter what.
Speaker 1: Basically all my movie are about loving someone no matter what.
Speaker 1: All of that and and and uh, and I thought
Speaker 1: I'll write it for the province, and then we just
Speaker 1: moved into Mexico City. That was a very difficult movie
Speaker 1: to make. What did you learn when you're on the
Speaker 1: set making your first feature and you have some resources,
Speaker 1: maybe not as the kind of resources you would eventually
Speaker 1: have to make, It's all the same. I was gonna say,
Speaker 1: what was what were the things that with the big
Speaker 1: learning curve for you in the practical experience of your
Speaker 1: first home, the thing that you get a horrible, horrible
Speaker 1: lesson early on, because Coronas told me about eight years
Speaker 1: to get me. And I remember there was a beautiful
Speaker 1: scene which is not in the movie where he comes
Speaker 1: back if any of you saw it. The guy restorects
Speaker 1: and comes back and he cannot wake up his wife
Speaker 1: because she thinks he's dead. He's living in the attic
Speaker 1: and a toy box, you know. So he went to
Speaker 1: see her and he wanted to touch her but he couldn't,
Speaker 1: and he wanted to lay next to her but he couldn't.
Speaker 1: Then he laid on the floor and I had a
Speaker 1: top shot of him laying on the floor. It was
Speaker 1: like a beautiful, little tender scene. And it was one
Speaker 1: of the scenes that I made the movie for Lah
Speaker 1: Lah Lah. And it came and things happened, and it
Speaker 1: went wrong and it went away, and you never forget that.
Speaker 1: You really, as a direct doesn't no, but you you
Speaker 1: need to know that what you're doing is and you're
Speaker 1: orchestrating an accident and you only get one chance of
Speaker 1: really getting it and then you moved past it. To
Speaker 1: this day, I have only re shot something one in
Speaker 1: Pan's Laverne an additional shooting to three days on on
Speaker 1: Pacific rink, because you prepare so extensive. I prepare because
Speaker 1: I say, this is what it's gonna go away, the fear,
Speaker 1: or what it's gonna wear. You know how people dream
Speaker 1: that they go to school and they're on their pajamas.
Speaker 1: I dreamed that I come to said and and something
Speaker 1: goes wrong, and I said, it's not radio, and I
Speaker 1: have to and I prepare really well because then there's
Speaker 1: room for him now. And as you said, the arc
Speaker 1: is the same, so that now in your career where
Speaker 1: you have this huge career making films, and the budgets
Speaker 1: are of course so much more significant, but the methodology
Speaker 1: is the same to you. There's always there is now. Well,
Speaker 1: let me let me put it this way. I have
Speaker 1: made movies for one point nine million, and I have
Speaker 1: made movies for a handred million. Oh, I know the procedures.
Speaker 1: The procedure is exactly the same, because as a director
Speaker 1: is your duty to your responsibly always exceed the scope,
Speaker 1: exceed the budget. But we talked about you always other
Speaker 1: in other words. In other words, if you have enough
Speaker 1: time and enough money, you're sucking up you you you
Speaker 1: you have wrong. I may be fat here, but I'm
Speaker 1: not fat here. So you know here is like a
Speaker 1: six pag on the you know here chisel. But but
Speaker 1: it's do do give me On a Campbell Shape of Water,
Speaker 1: it's nineteen point three million and the scope is much bigger.
Speaker 1: And I remember on the first Hellboy, Uh, they came
Speaker 1: in and I have all these things, and they said
Speaker 1: you have to call what was it, You have to
Speaker 1: call seven million? And I said, okay, I'll add on
Speaker 1: actions in yeah, to screw you all of actions. So
Speaker 1: I I added the scene where the pendulum destroys the bridge.
Speaker 1: It was not in the original budget, and we ended
Speaker 1: up on their budget. Still Shape of Water we ended
Speaker 1: up two hundred dollars under budget. But that is the
Speaker 1: most amazing thing in the ark of my work in
Speaker 1: films to go now to these super micro budgets where
Speaker 1: it's like, you know, if I do uh, you know,
Speaker 1: like a small row in like mision impossible. And then
Speaker 1: I go to another movie and I'm on the set
Speaker 1: of a movie where I'm saying the entire budget for
Speaker 1: this movie. Is the budget for Tick tax on Mission Impossible?
Speaker 1: You know, I mean they like Mission Impossibly, Like you
Speaker 1: can't believe how much money they have. But you have
Speaker 1: to keep going back and forth. Yeah I do. I
Speaker 1: mean you're doing cardion muscles, you know you're doing You're
Speaker 1: doing different exercises when I go up to a smaller movie.
Speaker 1: That's why I used to do an American movie on
Speaker 1: a movie in Spanish as director, because I wanted to
Speaker 1: force myself to go back to tighten the muscles. Because
Speaker 1: those muscles and this ones and and and and uh
Speaker 1: and what is beautiful about it is you realize. I mean,
Speaker 1: have you ever been on a movie where you go,
Speaker 1: we have enough time to get this in right? There's
Speaker 1: always you always is an oppressed I had. I had
Speaker 1: a friend who wrote me into not racial sage from
Speaker 1: He asked me to a film, good script, good director.
Speaker 1: And we go to shoot the film and we're shooting
Speaker 1: the big action scene as a like a shootout with
Speaker 1: the cops on this bad guy and uh. And we
Speaker 1: go to Griffith Park and we're gonna shoot. We're gonna
Speaker 1: do night shooting on the shortest night of the year.
Speaker 1: So we have like less time, and when I'm going, okay, Phillis,
Speaker 1: it's the shortest night of the year and we want
Speaker 1: to kind of get these shots. So we're sitting at
Speaker 1: a picnic table and I said, so we do have
Speaker 1: video playback, and the guy goes, now, we don't have
Speaker 1: video playback and I and I said, I said, I
Speaker 1: don't want video playback every day, but for this one
Speaker 1: day of action, I said, you don't have video playback.
Speaker 1: And it was a low budget film where they paid
Speaker 1: me x and they got and then guy goes, we
Speaker 1: don't we don't have any video money for video playback,
Speaker 1: because they pointed at me, and I go what. He goes, well,
Speaker 1: we gave you all the money we had and we
Speaker 1: don't have any money, and like, you don't have any
Speaker 1: money to shoot the fucking film, you know. But I've
Speaker 1: learned about that meeting, why I will do films now
Speaker 1: and I'll say, don't pay me this, pay me less.
Speaker 1: So we haven't so we have at least a chance
Speaker 1: to make a good movie. Well, I'm happy, Tom, I'm
Speaker 1: happy for the year. You'll say that you don't gonna
Speaker 1: because then there's other movies where we hold their head underwater.
Speaker 1: By the way that they we gave a financial talk,
Speaker 1: dont come not because I'm the same way I put
Speaker 1: all my salary and shape of water, uh entirely. And
Speaker 1: I said, how the way the way I see it is,
Speaker 1: I say, I call it guard and I want that
Speaker 1: on my wall. So I'm gonna pay for it, like
Speaker 1: I would pay for a painting. So why don't I
Speaker 1: pay for an extra day? Why don't I pay for
Speaker 1: an extra little piece of set I wanted? And I mean,
Speaker 1: I think, uh, I've always find that the rewards are
Speaker 1: bigger when emotionally and existentially when you do that, I
Speaker 1: think I've never done it any other way. I put
Speaker 1: my money on Pacific Red. I said, I put my
Speaker 1: money on the first helm boy, blah blah blah. Sometimes
Speaker 1: they give it back. Sometimes it's pretty. That's that's a
Speaker 1: sign of how the business has changed. I used to
Speaker 1: play chicken with them. They'd say, well, you know the
Speaker 1: director's assistant. The directors say, I can't bring Jeff. They
Speaker 1: don't want to pay him. And I really, it's really
Speaker 1: hurted me to do the movie without Jeff. And I
Speaker 1: call the producer and said, I'll pay for Jeff. Take
Speaker 1: Jeff's salary out of my salary. They do that want
Speaker 1: and then the old days, I said that you'd embarrass
Speaker 1: them and they go, no, no, no, no, very kind
Speaker 1: of you. Thank you, but we and they want to
Speaker 1: be embarrassed. They pay for Jeff. How about starting like
Speaker 1: a ten years ago. They go, okay, sure you pay
Speaker 1: for Jeff. We're under thank you. We're so sweet. We're
Speaker 1: on the same phase of our sal This week, I
Speaker 1: wasn't negotiating this and that on something and I said,
Speaker 1: I was talking to the studio on the phone and
Speaker 1: I said, just so you know, my salary is contingency
Speaker 1: that I can execute at will. So we this week.
Speaker 1: That's a conversation because if I need the next two
Speaker 1: day or I need for the night box, because these
Speaker 1: moments don't come back. They don't come back. If a
Speaker 1: naturalist on the zone and you need that, we're all
Speaker 1: under pressure anyway, because to direct is hostage negotiations with reality.
Speaker 1: What it is, that is what it is. Directly you
Speaker 1: can be cubric couple, You're gonna be anyone. The sound
Speaker 1: still rises at six thirty for everyone. Everyone. The winter
Speaker 1: says the weak of the whatever you have a reality
Speaker 1: and I think some people think of directing as control,
Speaker 1: and I think is about the wisdom of identifying the
Speaker 1: opportunity in the crisis and not not not taking it
Speaker 1: with fear, but saying we're gonna do it. There's a
Speaker 1: scene in the Shape of Water, Uh where we were
Speaker 1: shooting the scene where Michael is torturing the Russian spy
Speaker 1: in a sand pit, and we were getting huge wind
Speaker 1: that was throwing the sand into the camera into our flesh.
Speaker 1: The rain was freezing, blah blah, and we lost half
Speaker 1: a day. And we shot that scene on a technic
Speaker 1: crane and me by the side of the techno in
Speaker 1: the rain, directly the actors, and we've finished right when
Speaker 1: the sun was rising. And I love that. That's the sport,
Speaker 1: that's the sport, the challenge, that's that's why we that's
Speaker 1: why we played the day I go on and say
Speaker 1: I have a nice Studay, something's wrong, something's wrong. You
Speaker 1: have do not have enough. I think that real art
Speaker 1: and real freedom exists only with boundaries, because it's not
Speaker 1: a bounder, is a structure. If you don't have structure,
Speaker 1: you go mad. When you made your earlier films, and
Speaker 1: there I mean, obviously they're and admittedly they're they're lower
Speaker 1: budget films. They were early for about right. But but
Speaker 1: but at some point, I mean, I'm not just saying
Speaker 1: this to be kind. One of the only reasons I
Speaker 1: wanted to do this with you is because you were
Speaker 1: known as someone and I say this, I mean it
Speaker 1: really kind of moves me in a certain way because
Speaker 1: you are someone who in a business in which the
Speaker 1: commercial is, you know, chiseling away at a lot of considerations,
Speaker 1: and so many companies are are continuing to stalk the
Speaker 1: risk free product to the risk free, which is impossible.
Speaker 1: The risk free artistic enterprise is impossible. They must risk
Speaker 1: their all pretended they won't. Studios, TV networks, they still
Speaker 1: wake up every day that we're gonna go out there
Speaker 1: and find that risk free movie. Fellas you know, and
Speaker 1: uh and and and and and that you are someone
Speaker 1: who the whole world worships and admires you for your
Speaker 1: artistic soul. You are an artist, You are a great
Speaker 1: lens well and when did when did you in that
Speaker 1: way that like the films are doing you and then
Speaker 1: one day you start doing them and you really have
Speaker 1: the control. What is your artistic sensibility is it painting books.
Speaker 1: There's such a richness and the tapestry to well, where
Speaker 1: does that come from? I think when when I was,
Speaker 1: when I was very very young, I was, I just
Speaker 1: found the newspaper clippings of this uh in my mother's
Speaker 1: house for many years, I thought there were only three
Speaker 1: photographs of my childhood. And my mother, God bless her,
Speaker 1: who is never communicative, I said, And I said, I
Speaker 1: saved the photograph when I'm the vampire drinking a lot
Speaker 1: of my sister, because I have only three photos. And
Speaker 1: my mother goes, oh, no, we have a couple of
Speaker 1: boxes in the back. I'm fifty four. He had never
Speaker 1: told me that. So I go. He was gonna sell
Speaker 1: them a mix of money. I go and get all that,
Speaker 1: and I find this moment, this newspaper. My father won
Speaker 1: the lottery in nineteen sixty nine, and he wants six
Speaker 1: million dollars. What's you want? Now? He be my father
Speaker 1: to think about it for a minute. He raised those really,
Speaker 1: it was very strict about the way he raises. He said,
Speaker 1: you want that work, you know. But he won and
Speaker 1: and and so he bought a big house, and he
Speaker 1: bought things that he wanted and what he bought because
Speaker 1: somebody advised him to buy a lie library, because a
Speaker 1: gentleman has a library, right, And he bought a library,
Speaker 1: and I read it, and from then on I never
Speaker 1: I mean, he had an encyclopedia about human health, and
Speaker 1: encyclopedia of literature for kids, and encyclopedia of the of
Speaker 1: fine arts. So I learned at the same time I
Speaker 1: was learning about the gay money money del ball as
Speaker 1: I was learning about Jack qb. Or Bernie writes on
Speaker 1: or Stanley or. It was the same formative years so
Speaker 1: to me. And I was reading uh O nivorously, I
Speaker 1: would read but a lot of but a lot of
Speaker 1: people are led to that water, but they don't drink.
Speaker 1: You admit that you it's in the nate thing you
Speaker 1: it is. I tell you this. I didn't get this
Speaker 1: size by being measured your passion. I'm i'm I'm insatiable
Speaker 1: about images. I love them. I go through museums at
Speaker 1: the I think that you learned from architecture. You don't
Speaker 1: learn film from film. You learned part of film from that.
Speaker 1: When you learn film from the other arts from life,
Speaker 1: you know, I think traveling uh learning. You learn composition
Speaker 1: in painting, and it applies to film except is changing.
Speaker 1: You know, you learn how to stage on on theater.
Speaker 1: Your films, to me are people would say to me,
Speaker 1: I should I take should take this to my my wife.
Speaker 1: My wife is not a big movie goer, and she
Speaker 1: would say to me, you know, what is it? What
Speaker 1: is it about films that you love? And I said,
Speaker 1: you know, like a film like The Godfather. You know,
Speaker 1: without picking such a cliche example, I said, in terms
Speaker 1: of the composition, the lighting, the set design, the costumes,
Speaker 1: the music that pays. I said that the thing is,
Speaker 1: you know, a work of art as closest to a
Speaker 1: work of art and cinema as we're ever going to
Speaker 1: have in in history. I mean, The Godfather is a
Speaker 1: work of art from the first frame to the last
Speaker 1: fame there was a god. And your films are the same.
Speaker 1: You remind me of the richness inside the frame. Tell
Speaker 1: me a thing. When we first met many we at
Speaker 1: the first time in eight or nine, and you said
Speaker 1: something to me that I still use. You said to
Speaker 1: me you were about mimic of all things. You said
Speaker 1: you were getting dressed, and you sat by the in
Speaker 1: the bed with one sogain and one soga in your hair,
Speaker 1: and because Mimic was on TV and you said, that's
Speaker 1: a great image, and you started loving the images, and
Speaker 1: I think all art I was DECI known with a friend,
Speaker 1: the painter Julian Schnabel, and we were talking and the
Speaker 1: best definition I've heard he gave today about what art
Speaker 1: is something that you feel. It's a universe you you
Speaker 1: want to live in, or a universe that is complete.
Speaker 1: So when you see an image you it's not real,
Speaker 1: it's something else. It's not a mirror. It's a universe
Speaker 1: complete in itself, and you know the person there is obsessing.
Speaker 1: For example, we're preparing a movie we're gonna shoot in September.
Speaker 1: Yesterday I spend part of my afternoon in antique shops,
Speaker 1: buying the things that are going into a suitcase that
Speaker 1: the character is gonna be logging around. I bought a wallet,
Speaker 1: I bought money from two I bought a shaving kid
Speaker 1: that would fit in the bag. I started feeling it
Speaker 1: and I do that for months. And with Sally Hawkins
Speaker 1: for Shape of Water, we went shopping and we found
Speaker 1: the egg timer in the movie and the dog that
Speaker 1: she uses to brush her shoes. We were antiquing and
Speaker 1: we I said, let's find a brush, let's find something
Speaker 1: that your character, because to me, it's real when a
Speaker 1: when a movie comes to my head, I can write.
Speaker 1: I do write the biography of the characters, eight to
Speaker 1: ten pages for the actor. I tell them what the
Speaker 1: character eats, drinks, listens to, watches, likes, dislikes, and I
Speaker 1: give them a thing that is called I give them
Speaker 1: a secret that they cannot share with the rest of
Speaker 1: the That is, you and I are the only ones
Speaker 1: that know this secret. And and and some macros take it,
Speaker 1: some microls aren't. Uh. For example, Richard Jenkins on Shape
Speaker 1: of Water said, this is great. I'm not gonna use it. Really, yeah?
Speaker 1: Really is that? I don't I don't know what I'm
Speaker 1: gonna do from and take to the next I want
Speaker 1: to be there. I don't want to think about it.
Speaker 1: And what you know, I would I would be the
Speaker 1: opposite at the releast, I would pretend that I wanted to. Well,
Speaker 1: that is so I'll cherish it always, yeah, but or
Speaker 1: other things in twenty in twenty five years, the only
Speaker 1: thing that I I've learned is that the relationship with
Speaker 1: Jean's actor. Each actor is unique, you know, and it
Speaker 1: really is, and when it works without naming names, because
Speaker 1: first of all, clap, just give me one second. Clap here.
Speaker 1: If you are in now or are studying to be
Speaker 1: in the film industry, m clap. If you're in the
Speaker 1: shoe industry, why good clap, clap, clap. If you want
Speaker 1: to be a director, that makes sense. Man I clap.
Speaker 1: I don't clap because I don't want to be a director.
Speaker 1: Can I tell tell something? As everyone is in Miami
Speaker 1: Blues if you haven't seen, clap. If you haven't seen
Speaker 1: Miami Blue, thank you, thank you anyway, So, um, that's
Speaker 1: a movie I made back in the plis to see
Speaker 1: an era of my career. But but the now, the
Speaker 1: the But when you in terms of actors, because this
Speaker 1: is instructive for people who are directors, and even if
Speaker 1: you're working directors or student directors, you know, I say, uh,
Speaker 1: but you know, actors they really do want to be directed.
Speaker 1: They want so badly to be directed. But in the
Speaker 1: right way. Well, they want you to say something meaning
Speaker 1: it's your movie. Tell me what movie you want to
Speaker 1: make the decision to make your film. Um, we kind
Speaker 1: of discerned that early on. If you tell me I
Speaker 1: want to make a movie about this, and I go, oh,
Speaker 1: I don't think I want to do that. Then I say,
Speaker 1: thank you. What I tell my agent just passed whatever.
Speaker 1: And if you get to a meeting with somebody and
Speaker 1: you know you you want that clarity. And if you
Speaker 1: sit with someone and they describe the kind of film
Speaker 1: that you want to make, you want them to just
Speaker 1: tell me what you want me to do? You know,
Speaker 1: I mean you've you've hired me like Nichols. Like Mike
Speaker 1: Nichols was like he cast they always take great directing.
Speaker 1: Half of its casting well, and he bring people in
Speaker 1: and he believed you could do what you that you
Speaker 1: could achieve what he wanted to do achieve, but evenetheless
Speaker 1: told you to what to do. I think you should
Speaker 1: do this, and you find when it works with actors
Speaker 1: what happens, and what it doesn't work with actors, what happens. Well,
Speaker 1: I've only the worst mistake I made. I made in
Speaker 1: chronicles and I didn't I cast someone that brought a
Speaker 1: very different thing to the table, and I couldn't process it.
Speaker 1: And I think what you're do is you take what
Speaker 1: they can do and you work with that. If you
Speaker 1: if you if you are too to understand the essence
Speaker 1: because of directing is casting. If you cast well, you're
Speaker 1: a good actors director. And the way I cast is
Speaker 1: the eyes because film is made of ice. Film is
Speaker 1: made of a gaze. Either somebody looking yeah, is there
Speaker 1: life in those eyes? Is their intelligence? Is their cruelty,
Speaker 1: is their compassion? And that you get in the first meeting,
Speaker 1: and then you get then you get the essence. And
Speaker 1: the way I see it is a symphony of ice.
Speaker 1: I can have surgery on my eyes, make you believe
Speaker 1: more in my acting are very specific, very specific, and
Speaker 1: I think the for example, to me, the eyes of
Speaker 1: Octavia Spencer, the eyes of of Sally Hawkins, the eyes
Speaker 1: of Richard Jenkins, very different, each of them. And it's
Speaker 1: a symphony because film is symphonic. Film is symphonic. Everything
Speaker 1: is is perco say blah blah blah, but there is
Speaker 1: there is the actor. If the essence of the character
Speaker 1: exists there, it has to it has to be done
Speaker 1: that way the casting, and then what do you do? Well?
Speaker 1: I learned. I learned a few things that are essentially true.
Speaker 1: Most directors are afraid of actors. I really a lot
Speaker 1: of them are a lot of both but here's the deal.
Speaker 1: The best thing that can happen to a director is
Speaker 1: to act, and the best thing that can happen to
Speaker 1: an actor is to direct, because then you understand that
Speaker 1: those are the two loneliest positions in the set. And
Speaker 1: what you need to understand is that most actors feel
Speaker 1: completely alone if they don't know you are there for them,
Speaker 1: watching them and understanding what they're trying and what they're bringing.
Speaker 1: And then, for example, Richard Jenkins, you go four or
Speaker 1: five takes before you win because he's trying things, and
Speaker 1: you understand this another actor. Some actors will dry you
Speaker 1: with a bad day to see if you say good
Speaker 1: and then they don't trust your random fast they would
Speaker 1: you would go that's great, and then he would say, okay,
Speaker 1: I'm alow to lose. I'm alone, I'm alone to lose. Yeah. Uh,
Speaker 1: And you learn all these things. Some actors need a friend,
Speaker 1: so micros need a pal, a dad, a brother, a
Speaker 1: besque master sometime mentor yeah. And you is each actor.
Speaker 1: Some actors get great on take three, another one in
Speaker 1: dake one, and you need to go, how do I
Speaker 1: make this? Well? You? You? You? You? You also realize
Speaker 1: that you know the great. The beautiful thing where time
Speaker 1: allows is to let it kind of happen, you know.
Speaker 1: I mean, Warren Batty is a great movie stari is
Speaker 1: one of the greatest movie stars that ever lived. And
Speaker 1: I went and did Rules Don't Apply his his last
Speaker 1: song he did with Lily Collins and so forth. And
Speaker 1: I had a small part in there. And I'm doing
Speaker 1: a scene and they had two sets. We're doing a
Speaker 1: phone call and I'm on once that he's on the other.
Speaker 1: And he would sit and feeding my lines and they'd
Speaker 1: shoot my half, and then he would move the cameras
Speaker 1: through beyond the wall. He was right ten feet from me,
Speaker 1: and they shoot him and on his side, I mean
Speaker 1: on my side. When he was off camera, he was
Speaker 1: very subtle and very sinecere. And then you go back
Speaker 1: and watched the playback and he's directing the film. Then
Speaker 1: movie we came on his side. I mean, he did
Speaker 1: a scene he's watching this TV show and he starts
Speaker 1: convulsing and crying and sobbing, like I never could expect
Speaker 1: that the depth of his performer. He was so into
Speaker 1: it and and just keening in this scene. And we
Speaker 1: all go to the monitor and we're all watching on
Speaker 1: the playback, and he's standing behind us. I looked up
Speaker 1: at him and I was like, oh my god, that
Speaker 1: was amazing. He looks he goes every now and then,
Speaker 1: every now and then. And I thought to myself, this
Speaker 1: is Warren Beatty, who is famous for doing like a
Speaker 1: thirty four and he takes but to work with someone
Speaker 1: who looks at you at the beginning, says, let's take
Speaker 1: our time. Maybe you're gonna get there take four. Maybe
Speaker 1: you're gonna get there. You don't get there by take
Speaker 1: ten or twelve. Maybe we should move on or you
Speaker 1: know whatever. But and and some directors wait for it
Speaker 1: to happen, but we dont wants to be like like
Speaker 1: looking at the watch. You know that's I tell you,
Speaker 1: that's that's a duty that I can And that's a
Speaker 1: rule that I can impart here and now do anyone
Speaker 1: interested in directing, And it's a rule. Your job is
Speaker 1: no matter. Why do you have half a day to
Speaker 1: shoot a really important to see whatever it is you
Speaker 1: need to create the feeling on your cast and your group.
Speaker 1: That is enough, That is plenty, That is really great.
Speaker 1: You know that that you're gonna take this moment and
Speaker 1: it's yours and there's no hurry. Sure you gotta get
Speaker 1: out of there at three pm and in one thirty.
Speaker 1: Still I always tell I always tell the stupidest story
Speaker 1: over and over again. I do my first movie, The
Speaker 1: Alice with Woody Allen in nineteen nine one or nineteen nine,
Speaker 1: and in that way, I'm younger, I'm kind of new
Speaker 1: to making films. I've only been making films for a
Speaker 1: few years. I'm doing this small part with Mia and
Speaker 1: Uh and they said to you, basically, don't talk to
Speaker 1: Woody and wood he's not going to talk to you.
Speaker 1: And he's the director. He's saying, they're going he's the
Speaker 1: director and he's not going to talk to you, and
Speaker 1: don't you talk to him. I'm like, okay, okay, God.
Speaker 1: And so in that way, like where do you get
Speaker 1: the direction from somebody? Carlo de Palma, who was the DP,
Speaker 1: wound up giving me some kind of air sets directing,
Speaker 1: which was difficult because he spoke cardi any English. So
Speaker 1: my favorite story was I told this to the dj
Speaker 1: A one time or the the I think it was
Speaker 1: the dj A some award show. I said, we would
Speaker 1: be there and Carlo de Parma will walk up to
Speaker 1: me go ale you mi a delight comes a da
Speaker 1: like a you very good and it's so good. But
Speaker 1: you know me, I go uh, I start to read
Speaker 1: his mind and I go, you don't me to lean
Speaker 1: forward in the check because they're like coming through the
Speaker 1: window like a sim he's so good luck still very good.
Speaker 1: We get to another take. He goes, I like you
Speaker 1: the couch and no like and I say, I'm a ghost,
Speaker 1: so I shouldn't sit on the chair because the body
Speaker 1: of a ghost wouldn't make a dent in the fabric.
Speaker 1: Croup the chair. He goes, c C C, I le
Speaker 1: say you are still very good and you are starry.
Speaker 1: Well it works that that particular day maybe, But but
Speaker 1: you go on the set as an actor and you
Speaker 1: really do want the collaboration. You want you want them
Speaker 1: to get what they want because because when you say
Speaker 1: your your your your statement here and now I want
Speaker 1: to say here and now for actress, is that if
Speaker 1: you're a good actor, you realize the director is making
Speaker 1: the movie, not you. You better get in the same
Speaker 1: frequency the director or your fun. Well what what you
Speaker 1: what you have to thank is as a director, I'm
Speaker 1: the guy that turns on the light before anyone shows up,
Speaker 1: and I'm the guy that turns off the light after
Speaker 1: everybody leaves, and Walter wall and what I'm I'm watching
Speaker 1: it's im sake. So that day you're blue, next day
Speaker 1: you're purple, next day you're red, and you are red
Speaker 1: or purple or and you are just in that state.
Speaker 1: But I can tell you right now in this this
Speaker 1: may be a good take if we were a minute
Speaker 1: ten of the movie, but this is minute day, be five,
Speaker 1: go faster or anything like. And the second thing that
Speaker 1: I find is very useful is when you're young. Uh.
Speaker 1: That biography that we were talking about, I wrote them
Speaker 1: from chronos on and I would go and talk to
Speaker 1: the actor about this is the moment when you remember
Speaker 1: that you were a child, and all these introspections, and
Speaker 1: I finally realized that they don't want something to think,
Speaker 1: they want something to do. They need an action. You
Speaker 1: need an action. You need to know where you are
Speaker 1: to be present. Because they answaid that about Brandy. He
Speaker 1: said he started to talk to like five or six
Speaker 1: words in Brandy were kind of mumbling not and walk
Speaker 1: away because we need it was the first five or
Speaker 1: six words you go in and if you if your
Speaker 1: direction needs more than a minute, is the wrong direction. Whatever.
Speaker 1: And it took him in and said, look, try this.
Speaker 1: For example, I'll tell you listen to her lines, and
Speaker 1: only when she says this, look at her in the eyes.
Speaker 1: That changes the dynamic because you're ruffling paper, but it's
Speaker 1: an action. And then you look at her and there's
Speaker 1: contract or. In Shape of Water, for example, there's a
Speaker 1: scene with Richard Jenkins and and Sally where she's explaining
Speaker 1: to him how she feels when the creature looks at
Speaker 1: her and sees her for what she is. And they
Speaker 1: love that scene, and they rehearsed it over and over
Speaker 1: and over and over again, and the day we did it,
Speaker 1: it was dead because they had rehearsed it so much.
Speaker 1: So there was a moment where she grabbed him and
Speaker 1: I said, slap him really hard, and I didn't tell
Speaker 1: him she was lapping him really hard, and you can
Speaker 1: see he was only alive. And I think you do things,
Speaker 1: you don't instructor simulate things, and that shakes the things
Speaker 1: very nicely. Nicholson told me that. I said, what was
Speaker 1: it like to do Chinatown with? Obviously Polanski, the legendary
Speaker 1: director directing. And there's John Houston in the cast, who's
Speaker 1: the legendary director. And Nicholson said that Houston called would
Speaker 1: refer to Polanski's Roman Roman. You called him Roman and
Speaker 1: and he said that, uh, Polanski would hold forth and
Speaker 1: say all these things, and Houston would say, now, Roman,
Speaker 1: there really are only two directions, a little more and
Speaker 1: a little less. Fact this is John Houston. I'm I'm
Speaker 1: gonna take that. I'm gonna take that under advisement. There's something,
Speaker 1: there's something I think that as you, as you continue
Speaker 1: your craft, simplicitly reveals itself to be the way. Yeah
Speaker 1: in best cases, and the younger you are, the more
Speaker 1: you think the most baroque solution is the good one,
Speaker 1: and sometimes it is, but you learn to identify it.
Speaker 1: So before we talk about Shape Reporters specifically, which is
Speaker 1: your latest triumph, I want to say that whenever I
Speaker 1: want to have I'm gonna say something very very personal now,
Speaker 1: and I'm almost embarrassed to say this, but I can't
Speaker 1: help it with you here. I say, you know, whatever,
Speaker 1: I want to have sex with my wife, I go
Speaker 1: like this, and I go like this, you do. And
Speaker 1: we have four kids in four and a half years.
Speaker 1: It works like a charm. I just don't it's actually
Speaker 1: like this down and she saw the movie with me.
Speaker 1: She's like, oh, okay, they're gi Gamo so um. The
Speaker 1: the described to me because obviously this is a great
Speaker 1: triumph for you. The genesis of that film, well, I was.
Speaker 1: I'm always one of the things that I've always believed
Speaker 1: is that you should not make the movies you need,
Speaker 1: but the movies that need you that they wouldn't exist
Speaker 1: if you didn't make that, you know. I think that's
Speaker 1: that's where your boys really resides, in doing the things
Speaker 1: that you want to see but no one is doing,
Speaker 1: you know. I find it completely terrifying when people say, well,
Speaker 1: we're doing this because this other movie was successful. That's terrifying.
Speaker 1: And I fell in love with the Creature from the
Speaker 1: Black Lagoon when I was a very small kid, and
Speaker 1: something happened because I saw the creature swimming under Julie
Speaker 1: Adams and I thought, this is this is poetry. I
Speaker 1: was a little kid, and I felt this standal syndrome exstasis,
Speaker 1: you know, of the pure beauty. And then later I
Speaker 1: was watching The Seven Year Itch with Marilyn Monroe and
Speaker 1: Marilyn Monroe comes out of seeing creature from the lack
Speaker 1: lagoon and says, the creature just needed a little love.
Speaker 1: And I fell in love with Marilyn and those that
Speaker 1: collision so that I thought, I've always loved monsters, and
Speaker 1: I always wanted why because I think I think that
Speaker 1: what we were freedom. No. Well, the we live in
Speaker 1: a world that right now also tends to and I
Speaker 1: think this is a very narcissistic trade, tends to do
Speaker 1: what I caught on me between black or white, and
Speaker 1: nobody is black or white. Everybody, all of us, exists
Speaker 1: in between. We are, we have the right to be
Speaker 1: polychrome and have any color we need. At ten am
Speaker 1: and a motherfucker a dwell, I'm a saint. At one thirty,
Speaker 1: I'm a boogie dancer, a three fifty. We are. We
Speaker 1: are complex creatures, and I find that monsters give you.
Speaker 1: You call my wife right now, I'll say it's it's
Speaker 1: gonna booty here. I'm a polychrome. I'm a polychrome. So
Speaker 1: we are, and I think monsters, we we live right
Speaker 1: now in a in a way where media tells us
Speaker 1: two to be perfect in so many ways. The traditional
Speaker 1: ones you have, you have to have perfect hair, perfect Keith.
Speaker 1: Never let them see you sweat. No, no, no, no, no,
Speaker 1: let me sweat, motherfucker. Let me let me have crooked teeth,
Speaker 1: let me having perfect hair. I don't give a funk.
Speaker 1: I want to be a good human being. There's no
Speaker 1: commercials for that, you know. And and I really think,
Speaker 1: I really think that monsters, monsters allow imperfection to be scentified. We,
Speaker 1: as I said once and I repeated, is imperfection is
Speaker 1: a goal that we can all aspire to, and it's
Speaker 1: all inclusive. If we all agree, if we right now
Speaker 1: is a world we agree that we're all fucked up
Speaker 1: in some way. Now we're all imperfect, we would get
Speaker 1: along better and there would not be this in the
Speaker 1: tyranny of perfection is repulsive. A certain embody type, a
Speaker 1: certain lifestyle, a certain goal is torture, is absolute mental torture.
Speaker 1: These things. No one can live in those standards, whereas
Speaker 1: in standards of imperfection, everybody can live. And I find
Speaker 1: these monsters so moving because they embody that For me,
Speaker 1: they embodied the other in a way that nothing else does.
Speaker 1: So what was the beginning of shape of for the
Speaker 1: beginning was I wanted. I wanted to tell the story
Speaker 1: of a b monster movie told as a love story,
Speaker 1: directed by Douglas Sirk. I wanted to make a movie
Speaker 1: about the love of movies, musicals and about how love
Speaker 1: is not about change. I find this fable of beauty
Speaker 1: and to be so terrifying, and it's so tortuous because
Speaker 1: it means you meet somebody and they have to transform
Speaker 1: once you love them. Fuck that. I think the key
Speaker 1: is that you identify imperfections or or you identify an
Speaker 1: essence and you connect with that essence and it wants
Speaker 1: and I wanted somebody in my in my version of
Speaker 1: the movie, she's always been not human, She's always been
Speaker 1: an amphibian of some sort, and she sees him and
Speaker 1: recognizes an essence. To me, that's a lot you co wrote,
Speaker 1: yeah with with Vanessa and and I thought that was
Speaker 1: very moving. And of course the first budget we did
Speaker 1: was thirty five million. And I went to say, would
Speaker 1: you like to mega Creature from the Lack Lagoon as
Speaker 1: directed by Douglas and in black and white originally? And
Speaker 1: Sarchily said in black and white fifteen million, in color
Speaker 1: nine five and I said I'll take color and and
Speaker 1: and and uh, and I started it took a while
Speaker 1: to crack it. But buts of the writer, Yeah, because
Speaker 1: my next strive for people that are directors as well.
Speaker 1: What's that processing you've written how many screenplayers? Or cover
Speaker 1: twenty eight? You are a writer director of the the
Speaker 1: highest order. When you're co writing with somebody, do you
Speaker 1: just have a natural battery with him? But do you
Speaker 1: sometimes have from contact with him? But I don't know
Speaker 1: what I say. I always started by writing an outline
Speaker 1: that is between seventy pages, and that's the outline. And
Speaker 1: then or it's almost the first draft. Then I gave
Speaker 1: it to them and say, do whatever you want, whatever
Speaker 1: you want, don't tell me what's wrong, don't call me,
Speaker 1: just do whatever you want. We can always undo. But
Speaker 1: if I don't give you this freedom, I'll never know
Speaker 1: what you want on adults really feah, you will be
Speaker 1: executing what I want. So the co writer whatever they want.
Speaker 1: Then it comes back and I either love it or
Speaker 1: hate it. Yes, yeah, But then then I go it
Speaker 1: should have been this other thing, or I go, this
Speaker 1: is fantastic. I would have never thought about it, and
Speaker 1: and and and there is sometimes um. For example, I
Speaker 1: write twenty thirty pages, just a beat cheap. And then
Speaker 1: they do the first draft and then I react. I
Speaker 1: mean it varies, Kathy, I do I write for actors?
Speaker 1: I write this. You see actors in the in the
Speaker 1: in the in the in the in the constellation. I
Speaker 1: kept just hold on, is that you, sweetie? I'm on
Speaker 1: stage right now. Hold on, gear Molto Toro is gonna
Speaker 1: tell you something very important right now? Hey, therey good?
Speaker 1: Maybe an alec is polychrome. It will explain one against
Speaker 1: home and got better. I'll say good, but I'll get howey.
Speaker 1: I'm on stage in front of hundreds of people, and
Speaker 1: I just gave to all the cash I had in
Speaker 1: my pocket for first. I'm a polychrome, Honey, Okay, I'm
Speaker 1: a polycrol. I gotta call you back over, okay, Sweete,
Speaker 1: I gotta claim it. Uh in about half an hour
Speaker 1: by um do hand. I'm okay. I thought I could
Speaker 1: become a producer on your next movie. But but they're
Speaker 1: a little back in. But you know the process for me.
Speaker 1: But do you see if you always gonna say before
Speaker 1: we were so rudely interrupted, was that do you see
Speaker 1: like this pantheon of actors? I think you want to
Speaker 1: work with, and you go and you write for them. Yeah.
Speaker 1: I saw Sally Hawkins and I thought, this is the
Speaker 1: most powerful presence I've seen in ages, so empathetics, it's amazing,
Speaker 1: and I thought, I'm gonna write for her. I didn't know.
Speaker 1: She's fantastic, and I love when she says she doesn't
Speaker 1: say perfume. She says, I remember, but she she's so specific.
Speaker 1: She's for me a genius. And I wrote it for her,
Speaker 1: And then if it doesn't happen with them, I don't
Speaker 1: make the movie. I really don't see the point of doing.
Speaker 1: You do somebody else, Michael Shannon. Shannon wrote it for
Speaker 1: Shannon because I think Shannon is one of the top
Speaker 1: five actors working today, and he has an amazing he has.
Speaker 1: He has such a control, uh the smallest gesture, and
Speaker 1: he's incredibly precise. You know, he's the opposite like he
Speaker 1: he always matches everything, which I had work, but but
Speaker 1: he he also gives you different colors. And so Octavia,
Speaker 1: every every actor I write for, I've been doing that
Speaker 1: since Chronos. I wrote hell Boy specifically for Rom Brahman
Speaker 1: and and and we waited eight years. Everybody said no, no, no,
Speaker 1: they said who was the star Ron Brahman. No, and
Speaker 1: and I knew he was the only guy that could
Speaker 1: do it. And he was your al pacino. Yes, yes,
Speaker 1: he is my compatrio man and and and uh and
Speaker 1: what you were talking about the video When we were
Speaker 1: shooting Chronos, he says, you have video assists? I don't know.
Speaker 1: And then one day we finished take three or four
Speaker 1: and says, oh, can we do one more? I said no,
Speaker 1: we're out of what I said film, literally, you don't
Speaker 1: have any more real I love Shannon because you know,
Speaker 1: enacting this, you see people who and and they have
Speaker 1: the gift, they have the ability. I don't want to
Speaker 1: name names, but they stay in a certain genre because
Speaker 1: that's what works, and that's what they can pay to
Speaker 1: doo and uh. But then when they deviate, sometimes you
Speaker 1: see uh, you know, startling results when they kind of
Speaker 1: get off their their normal tracks. And Shannon, when he
Speaker 1: plays the negative value, he still realizes that it's it's
Speaker 1: it's it's storytelling. I don't see a bad guy, but
Speaker 1: he's I think he is the rare guy that to me, okay,
Speaker 1: he brings vulnerability to the bad guys and menace to ye.
Speaker 1: And what I love. Uh. When I was talking to
Speaker 1: him on the beginning, he said, is this a bad guy?
Speaker 1: He said, no, I think to me, he is the
Speaker 1: most the loneliest character in the film, right. I think
Speaker 1: in fact, for me, in Shape of Water, he is
Speaker 1: the only lonely character in the movie. He's He's completely
Speaker 1: the loneliest and that gave him the key. It's like
Speaker 1: Michael Madison and Free Willie. You think of Michael Madison
Speaker 1: in this pure jerky through you. That's the stupidest thing
Speaker 1: I've ever heard of in my life. He's torturing people
Speaker 1: in Tarantino movie. When you watch you, oh, this is perfect,
Speaker 1: it's beautiful, you know, to bring that color. I'm very
Speaker 1: I was very attracted to making a story. Uh. I've
Speaker 1: always fascinated. I'm fascinated by the bad guys. For me,
Speaker 1: for example, Crimson Peak, I made it because of the
Speaker 1: bad guys. Jessica's the staining his character and Thomas Charp,
Speaker 1: which is uh a beautiful, flawed characters that I feel
Speaker 1: the tragedy of them. I think the writing for an
Speaker 1: actress specifically, I wrote for Jessica, you know, and it
Speaker 1: was very specific. She was the pillar for that project.
Speaker 1: When you have great when guys commit and they play
Speaker 1: those parts. I mean there's a lot of bad guys
Speaker 1: in some of your films, and then they play those parts.
Speaker 1: It's just so thrilling to me. You know, like like
Speaker 1: even a movie that's an insane you know, car crash,
Speaker 1: like the Human Centipede. Oh my god, but you see
Speaker 1: the guy who's the bad guy on that and you're
Speaker 1: like watching the movie and the guys like you say,
Speaker 1: a cor broke down, You are here and no one
Speaker 1: knows you are here in this area. Yes corbody you
Speaker 1: want to come in and use the phone, and there
Speaker 1: like yes, yes, because please come in. And this guy
Speaker 1: you can't take your eyes off. Hitchcock had that maxim
Speaker 1: which is true. The better the battle guy, the better
Speaker 1: the film. Yeah, you know, and I think Robert Walker,
Speaker 1: Robert Walker, you amazing and he he brought, as I mentioned,
Speaker 1: to the character Bruno, a sickness to that guy. Storyboarding you. Yeah.
Speaker 1: But but but when about your storyboarding my storyboarding, I said,
Speaker 1: I would imagine I draw myself, and I what I
Speaker 1: do is I hire someone to do nice story was
Speaker 1: for the budgeting for BFx companies, but the real story
Speaker 1: was on my doodles and the morning, I wake up early, early, early, early,
Speaker 1: and I put my earphones and play movie music and storyboard.
Speaker 1: Played movie music, movie music and storyboard, and then I
Speaker 1: read example of the movie music that takes you depends
Speaker 1: on the For example, with the with the Shape of Water,
Speaker 1: it was George de LaRue and Nino Rota and all
Speaker 1: those and and punched on Glove. Those were the soundtracks
Speaker 1: I would listen to. And and then I arrived to
Speaker 1: the set an hour and a half before anyone, not
Speaker 1: my VP. And I walked the set and I grab
Speaker 1: a little uh staircase and I climb a little because
Speaker 1: through the years what happened to me is the still
Speaker 1: photographer after the day were over, you would look at
Speaker 1: the stil photography and they had better angles than you,
Speaker 1: and you go, why am I so lazy that I
Speaker 1: didn't see this? So I arrived now an hour and
Speaker 1: a half early, and I make sure I get better
Speaker 1: angles and the still and I walk along. I walked
Speaker 1: up to the still talking about just don't tell anybody,
Speaker 1: but if you were to shoot this scene that, how
Speaker 1: weren't Yeah? And then it's just that and then the storyboards.
Speaker 1: What I do is I I I do thirty forty
Speaker 1: setups on the storyboards and then I ended, I literally
Speaker 1: ended on the storyboards. I can cut a scene there.
Speaker 1: I know what frame I mean, and I know which
Speaker 1: story was what I call meat and which is story
Speaker 1: was a gravy. I got this one can go and
Speaker 1: doesn't affect this one. And what I do is every day,
Speaker 1: every day I got the day before. So if you
Speaker 1: come in on Monday, the fourth week of my shoot,
Speaker 1: you will see the entire movie, the four weeks edited completely.
Speaker 1: I want to ask you about that, about the sacred
Speaker 1: moment of the actual editit. You know when you say
Speaker 1: that about uh, like, in whatever way I can or
Speaker 1: cannot influence, you know what happens on the set. In
Speaker 1: terms of the way we're going to do the scene.
Speaker 1: That thing you just said about me and gravy, I'll
Speaker 1: say to people, let's do the scene at three speeds. Yeah,
Speaker 1: through this at the pace that we we feel it.
Speaker 1: We're feeling our way through it. Let's do it a
Speaker 1: little faster than Let's really really give this scene the
Speaker 1: stick of like a racehorse analogy. We're gonna give the
Speaker 1: horse the stick all the way to the actually just
Speaker 1: bite the cues, take out the pause, really pace it up,
Speaker 1: because and then when we're shooting, I'll say, you can't
Speaker 1: love every scene. We can like him. But but let's
Speaker 1: let's if if the script says Bob pulls up in
Speaker 1: a taxi runs up the stairs to the hotel. Wannt
Speaker 1: we just pull the car up and walk into the hotel.
Speaker 1: If everything is a complete meal, yeah, you let's get
Speaker 1: that over so we can luxury and on the other
Speaker 1: stas now, I mean, obviously I hate the shots that
Speaker 1: I called the signfelds, which are an establishing I tried
Speaker 1: to avoid signfields I have. I have two signfields on
Speaker 1: Ben's Labyrinth. I want to do a movie with you
Speaker 1: one day, and I want to stand behind him. I
Speaker 1: but but what what what you were doing about is
Speaker 1: this is important? The rewards are there. So you have
Speaker 1: everything planned, and now you work with your actors, and
Speaker 1: now you improvise, and now you're discovered because you have
Speaker 1: a back complant. You know, you said, look, this is
Speaker 1: the way I know what happens. That morning I'm alone
Speaker 1: an hour and a half a board La la la,
Speaker 1: the DP comes in. I say, this is the way
Speaker 1: we're blocking, And I think the actors come in and
Speaker 1: we block, and then somebody will say, what if I
Speaker 1: sit down in the middle of this line. You know,
Speaker 1: that's a great idea or that's a terrible idea. Because
Speaker 1: of this, No, no, no. Also, I got a couple
Speaker 1: more questions because I don't know if we're gonna take
Speaker 1: questions from the audience. But I want, I want to
Speaker 1: say that that that the uh I mean obviously in
Speaker 1: the in the in the ark of your career where
Speaker 1: you're at this fantastic place over the last many years
Speaker 1: and doing all these really really very exotic films on
Speaker 1: a cinematic level. I mean, I mean very very You
Speaker 1: must have your choice of the directors of photography around
Speaker 1: the world. Do you do you what's your definition of like?
Speaker 1: Have you say, made films the same people eas over
Speaker 1: the years? Yeah, I repeat a lot. I with the
Speaker 1: DP is very simple. The relationship is very simple. I say,
Speaker 1: I choose the lens, the composition and the movement and
Speaker 1: the equipment, and you you do the light. You do
Speaker 1: whatever you want with the light because I trust your light.
Speaker 1: And now and then if they have an idea, we
Speaker 1: dis cause it. But but very muscular about yeah, very much,
Speaker 1: because to me, UH is a valet between the camera
Speaker 1: and the actors, because the camera is the eyes of
Speaker 1: the audience. Now, as Houston said, there are only two things.
Speaker 1: You can go closer or you can go away. And
Speaker 1: you can go up or you can go down. Those
Speaker 1: are simple choices. But when you for example, UH, I
Speaker 1: can tell you because it's music and symphony, a passage
Speaker 1: with a camera can be a largo or staccato or
Speaker 1: I remember, beauty. There's a beautiful shot in the first Math,
Speaker 1: Max George Miller did. He presents your mac cleaning preparing,
Speaker 1: and it's all close up. You don't see the guy,
Speaker 1: you see details, you know, and it's very very Prussian
Speaker 1: bam bam, you know. And then the car's crashed and
Speaker 1: Max this out of the car and he walks and
Speaker 1: the camera goes to him, pushes in and gives up
Speaker 1: and he removes his glasses. Looks better than this and
Speaker 1: wants that. And it's such a glorious, symphonic, balletic moment
Speaker 1: which you're revealed. And I always say the camera should
Speaker 1: never be accidental, should never be on. It looks good. No,
Speaker 1: what is it telling you? Is it taking you closer?
Speaker 1: You want to you know what actors, Brando used to say, right,
Speaker 1: if you want, if you want them to pay attention
Speaker 1: on whisper, and you do the same with the camera.
Speaker 1: Do you wanna do you want to listen a little?
Speaker 1: And I always keep the camera curious, like somebody that
Speaker 1: he is trying to get a better look at the scene.
Speaker 1: It's always I would make films with I mean, I
Speaker 1: had the great fortune to work with some of the
Speaker 1: greatest cinematographers in history and make these films with ball
Speaker 1: House and all these famous people attack Fujimoto and Wanderuis
Speaker 1: and Gia and stuff with great, great dps, too many
Speaker 1: to name. And we were John Tole and I found that,
Speaker 1: you know, many actors wanted to avail themselves of this
Speaker 1: kind of education on the set of the film over
Speaker 1: many years, to learn about lenses and cutting, crossing the line,
Speaker 1: and I was the opposite. They would say to me,
Speaker 1: you want to come and look through the lens and
Speaker 1: we want to show you. And I would look at
Speaker 1: them and go, I really don't care what you do. Uh,
Speaker 1: it's not gonna have any effect on what I do.
Speaker 1: I'm gonna do And I was like, you guys are
Speaker 1: the science departments, and I'm the acting department, and I
Speaker 1: did want to become self conscious about that, about acting
Speaker 1: for the camera in that kept it that way all
Speaker 1: this year, all my life. I've never changed. I just
Speaker 1: I just sit there and and go fellas you know,
Speaker 1: you want. Who gives a ship. So I'm gonna say
Speaker 1: I love you Mary, or bang you're dead, or what
Speaker 1: I'm gonna do. I just gotta focus on that. You
Speaker 1: focus on that. I'm going to focus on that. You know,
Speaker 1: I think that I think that the important thing for
Speaker 1: me with me, Well, no, I think that, uh, if
Speaker 1: that works for you, that will works for you and
Speaker 1: worked at me. Well, I I think I met with
Speaker 1: one of the great actors I think working today. I
Speaker 1: won't say the pain, but he said something I've launched
Speaker 1: that was very curious. We were having launched talking about
Speaker 1: how we work. I said, well, I like sometimes the
Speaker 1: camera leads, sometimes you lead. And we'll talk about and
Speaker 1: he said, I find that I do some of my
Speaker 1: best work my back to the camera. Very interesting. Yeah,
Speaker 1: you know, but but it actually I actually understood it.
Speaker 1: I Mean some of the some of the real emotion
Speaker 1: he could generate was when the camera was entered the frame,
Speaker 1: or that's savvy with the I mean, I've told the
Speaker 1: story before, so I forgive you. But that's savvy with
Speaker 1: the camera. I didn't movie with Tony Hopkins and the
Speaker 1: director at Lee Tammahy, he'd say, all right, not great,
Speaker 1: do this movie. We do this movie the Edge. We
Speaker 1: love that fire from water were fired from my expo
Speaker 1: from so so Tony happens there and Lee Tammer Howy says.
Speaker 1: He says, all right, Tony, you men are lost in
Speaker 1: the forest. He's from New Zealand. You're there. It's starving.
Speaker 1: You've got to try to find you out and find
Speaker 1: some sticks, make a fire, find something to eat. You're here,
Speaker 1: lost in the forest, Tony, would you have in mind?
Speaker 1: And literally Tony happened goes He says, I thought my
Speaker 1: character would walk over here and stand blue amongst his
Speaker 1: standard Douglas Firs, if the glacier fed stream spilling over
Speaker 1: my shoulder, heard of cariboo with the distance, and Tony
Speaker 1: would pick the spot that was the most picturesque spot
Speaker 1: and his character would walk over to that spot. On
Speaker 1: the scene of stand there, and Lee Tammer tamer Away
Speaker 1: we go Fantastic nine sizes aren't Tony over here quick
Speaker 1: pop of Alec time permitting over there nine cameras are
Speaker 1: Tony the glacier fed stream, the herd of Cariboo. Day two.
Speaker 1: All right, Tony you lost in the forest. You and
Speaker 1: Alec what do you hapen? One? And I thought I
Speaker 1: would will be here, stand on this massive grittic outcropping
Speaker 1: the gratia behind my shoulder, and you were fantastic crick
Speaker 1: pop of alectime permitting eighteen cameras on turning out here
Speaker 1: and he knew like that the set like what's the night?
Speaker 1: The juiciest most which looking part of the set. I
Speaker 1: think that you learned from every I mean when people
Speaker 1: say how do you learn directing? You learning every day
Speaker 1: from everything. Yeah. I think that's a discipline that comes
Speaker 1: from theater because your composition is your movement on the proscenium,
Speaker 1: and you do have the tendency where the where that
Speaker 1: the camera is like the proscenium where you're triangulating in
Speaker 1: the theater. I'm talking to you, but I'm kind of
Speaker 1: talking in the triumph to open up to them and
Speaker 1: you know what they're looking at, Yeah, the way you
Speaker 1: know how it looks. I think that I've I've developed
Speaker 1: video games, I have commanded animated series. I have because
Speaker 1: you learn from everything. Learning how to direct the attention
Speaker 1: the player on a video game gives you so many
Speaker 1: more verbs and solutions that you don't get. And as
Speaker 1: an actor is the same thing. I mean we are.
Speaker 1: We are basically spies that are socially inept, and we're
Speaker 1: observing everything and putting it in our pocket two use later.
Speaker 1: Like we're spies looking at how humans behave, what they do,
Speaker 1: what they don't do, where real drama comes from, and
Speaker 1: we put in a little pocket for later use. And
Speaker 1: when are you gonna learn a great moment? It can
Speaker 1: happen in a lightstop, you know, when you're looking at
Speaker 1: someone putting their makeup really quick or eating a sandwich
Speaker 1: and chain in the dial. It can happen at the dentist.
Speaker 1: Stuff is and you have to be always aware that
Speaker 1: nothing is alien to your craft. When people say I
Speaker 1: get bored on a line or waiting at the doctors,
Speaker 1: then you're not a director. You shouldn't give you more.
Speaker 1: You should be always watching someone in the wings. It
Speaker 1: is look at me, going shut the fuck up. Shut.
Speaker 1: We've run out of time. But I wanted to just
Speaker 1: two last quick questions. One is uh cridatile, but so so,
Speaker 1: I want to say, quickly, so you write and create
Speaker 1: your own stuff. And everybody talks about the Universal Library
Speaker 1: is going to come out again, the Horror Library if
Speaker 1: we do remixt you never want to do a remake
Speaker 1: of a famous harm of it, you know version I did.
Speaker 1: I tried. I actually pitched the love story of the
Speaker 1: Shape of Water basically from Creature. I went to university,
Speaker 1: I said, and they and then they screwed there with God,
Speaker 1: can we validate your parkings? There? No goodbye? But I
Speaker 1: was trying for many, many years. And I have an idea,
Speaker 1: of course, to do Frankenstein and Bribe in a particular way.
Speaker 1: But I don't think it's gonna happen. Look, I really
Speaker 1: believe that the things the movies I do most all
Speaker 1: the time, I do them because the premise is so
Speaker 1: absolutely bonkers. It's like I go, I say, I want
Speaker 1: to do a faery anti fascist fairy tale said against
Speaker 1: the backgroup of the Civil War in Spain. Yeah, it's
Speaker 1: a bloodbuster. I want to do a dogless, third directed
Speaker 1: sexual story about the creature. Yeah. Yeah. The the ideas
Speaker 1: to me is the combination of those flavors. And I
Speaker 1: don't think I can do a regular movie. I don't
Speaker 1: think I can. I mean everything, I don't, even the
Speaker 1: most commercially viable ones. You know, they have some weirdness
Speaker 1: in them. And I always try things that should not
Speaker 1: be done, and you do them because I do think this.
Speaker 1: When you're in a set and you have absorbed a
Speaker 1: hundred years of cinema, which you you you can and
Speaker 1: you are no matter what you your first instinct, the
Speaker 1: ray year or instinct is the wrong instinct. You have
Speaker 1: to stop and say, Okay, that's the way it would
Speaker 1: normally happen in that movie. What can we do that
Speaker 1: is different? And you stop yourself. You have to stop yourself.
Speaker 1: And the older you get, the more you want to
Speaker 1: go different. So I'm not sure that they willn't trust
Speaker 1: me with any legacy months maybe they want any more supportant.
Speaker 1: But let me just say this first of all, I've
Speaker 1: enjoyed doing this with you in measure because let's face
Speaker 1: text may never gonna invite me. That man I tell them,
Speaker 1: I mean, if you haven't seen him, is the greatest host,
Speaker 1: but he's also the greatest guest I highly recommend his
Speaker 1: episode of all of all episodes and comedians and cars
Speaker 1: get thank you, Thank you Legacy. I mean, but I
Speaker 1: want to finish. I want to finish by saying that
Speaker 1: in my lifetime there are four or five directors who
Speaker 1: bring a as I said, the artistic soul you know,
Speaker 1: Copple is certainly one. I mean what they the gifts
Speaker 1: they have, the God given gifts, they have, their training,
Speaker 1: their experience, uh, their dedication, all these things. This ineffable thing,
Speaker 1: this this magical thing, this soul of the artist that
Speaker 1: has found its way to express itself at the highest
Speaker 1: level of filmmaking. Ladies and gentlemen, give go job. The
Speaker 1: Tribeca Film Festival takes place every year in New York City.
Speaker 1: To learn more about all of our programs, visit Tribeca
Speaker 1: Film dot com. I'm Alec Baldwin and this is Here's
Speaker 1: the thing.