WEBVTT - Take a Listen to "Tribeca Talks" 0:00:00.200 --> 0:00:03.760 This is Alec Baldwin and you're listening to Here's the Thing. 0:00:04.640 --> 0:00:08.160 The Tribeca Film Festival is one of my favorite events 0:00:08.240 --> 0:00:11.880 of the year. It's an opportunity to watch movies and 0:00:11.920 --> 0:00:15.200 to hear from some of the finest directors and actors 0:00:15.200 --> 0:00:19.400 in the business discussing their work. The festival has just 0:00:19.600 --> 0:00:23.880 launched a new podcast, Tribeca Talks, which will allow all 0:00:23.960 --> 0:00:26.400 of us to listen in to the conversations that happen 0:00:26.480 --> 0:00:30.360 each year at Rebecca. Last year, I was lucky enough 0:00:30.400 --> 0:00:34.120 to sit down with director Guillermo Del Toro, and I'm 0:00:34.159 --> 0:00:37.640 pleased to present that conversation to my Here's the Thing audience, 0:00:38.280 --> 0:00:42.879 take a listen to Rebecca Film Festival's new podcast, Tribeca Talks. 0:00:44.760 --> 0:00:48.959 This is Tribeca Talks, our favorite conversations recorded live at 0:00:48.960 --> 0:00:54.040 the Tribeca Film Festival. I'm le SRB. Academy Award winning 0:00:54.080 --> 0:00:57.520 director Guillermo del Toro sat down with acclaimed actor Alec 0:00:57.520 --> 0:01:00.280 Baldwin as part of our twenty nineteen Director See These. 0:01:01.160 --> 0:01:05.040 Here's Tribeca CEO and co founder Jane Rosenthal with the introduction. 0:01:05.200 --> 0:01:09.040 It's my great honor tonight to introduce to you too. 0:01:09.200 --> 0:01:13.959 Amazing Cinophiles who are both masters at their craft. Giamma 0:01:14.040 --> 0:01:23.560 del Toro, as you know and many of you are 0:01:23.680 --> 0:01:28.319 fans of his work from Crimson Peak, Pacific, rim Hell 0:01:28.440 --> 0:01:37.080 Boy Pants, lambre Laid to Devil's Backbone, Chronos, and of 0:01:37.120 --> 0:01:46.400 course the Academy Award winning The Shape of Water. Joining 0:01:46.480 --> 0:01:51.000 him in conversation is a great friend of Tribeca and 0:01:51.440 --> 0:01:56.520 extraordinary actor producer, someone who I personally had the privilege 0:01:56.560 --> 0:02:00.400 of of watching him work up close when de Niro 0:02:00.640 --> 0:02:04.320 directed him in The Good Shepherd. Lately, the two have 0:02:04.480 --> 0:02:07.760 been collaborating on S and L in case you haven't 0:02:07.760 --> 0:02:12.520 seen that anyway, Ladies and gentlemen, please welcome Alec Baldwin 0:02:12.680 --> 0:02:26.400 and Gialla del Toro. M If I break the chair, 0:02:26.440 --> 0:02:33.079 which has happened, please help me get up. I was 0:02:33.120 --> 0:02:35.200 gonna say, if I break the chair which has happened, 0:02:35.720 --> 0:02:37.320 don't help me up. I'm gonna lay here and take 0:02:37.320 --> 0:02:42.919 a nap. You know. It happened then online television h 0:02:43.760 --> 0:02:49.480 until I came in with a three old time Alice 0:02:49.840 --> 0:02:54.919 and I said in the pool horrible and it's kind 0:02:54.919 --> 0:03:03.120 of flimsy. Well, um, it was amazing. Who's that guy 0:03:03.120 --> 0:03:05.639 with Marvin Davis was a guy. He was a big guy. 0:03:05.840 --> 0:03:07.360 And I came to an event once. It was some 0:03:07.440 --> 0:03:10.560 big fundraiser at the Beverly Hills Hotel years ago, and 0:03:10.600 --> 0:03:12.920 these guys came in with a big chair like a throne. 0:03:13.400 --> 0:03:17.160 It was this massive wooden carved chair with ornate faver 0:03:17.440 --> 0:03:20.520 I said, what's this. This is Mr Davis chair that 0:03:20.639 --> 0:03:22.680 he travels with everywhere. And they put the chair there 0:03:22.680 --> 0:03:25.040 at the table and he sat down, and I thought, man, 0:03:25.080 --> 0:03:26.640 that sounds like a great idea. I should have my 0:03:26.680 --> 0:03:29.880 own share. People carry around from it and believe it 0:03:29.960 --> 0:03:31.760 or not, is the first thing I look at because 0:03:32.639 --> 0:03:34.600 sometimes I don't fit them. I fit like a muffin, 0:03:35.480 --> 0:03:39.920 kind of like spilling. There's when I come to the 0:03:40.040 --> 0:03:42.119 edge of my kids aren't because they would put butter 0:03:42.160 --> 0:03:45.480 on you and eat you, right they I'm a good 0:03:45.520 --> 0:03:49.680 guy to travel for the and that plane. Now, now, 0:03:49.840 --> 0:03:53.120 speaking of affording your own chair, I think that you 0:03:53.160 --> 0:03:56.120 know your career is going so miserably lately. It's just 0:03:56.200 --> 0:03:58.600 so terrible what's been happening for you, and that maybe 0:03:58.640 --> 0:04:00.880 you can't afford your own chair it. I want to 0:04:00.880 --> 0:04:03.240 go back with you, and I want to go back 0:04:03.280 --> 0:04:07.080 because I was so ignorant about film education and how 0:04:07.160 --> 0:04:10.119 you begin a career like yours. And and apparently you 0:04:10.520 --> 0:04:12.720 took this with your father's Super eight camera when you 0:04:12.720 --> 0:04:15.480 were child, Right now I was. I was about eight, 0:04:15.560 --> 0:04:19.120 and my dad I used to get like he had 0:04:19.200 --> 0:04:23.679 a car dealership and sometimes people gave him technology as payment. 0:04:24.080 --> 0:04:27.080 This is Mexican the sixties and this you know, and 0:04:27.480 --> 0:04:31.200 and they gave him this camera and this projector. And 0:04:31.520 --> 0:04:34.960 I didn't know anything, but I started buying Super eight reels. 0:04:35.839 --> 0:04:39.120 They would condense a movie into one reel. So I 0:04:39.160 --> 0:04:42.520 bought the Crimson Altar with Boris Karlov, and I bought 0:04:42.600 --> 0:04:45.080 Night of the Demon, and I was projecting them and 0:04:45.120 --> 0:04:47.479 then I said what is the camera from? They said, 0:04:47.520 --> 0:04:50.200 that's what you make movies with. And before that I 0:04:50.200 --> 0:04:54.320 thought movies were something that happened and and somebody was 0:04:54.360 --> 0:04:57.160 there to record it something. Yeah, but they were things 0:04:57.200 --> 0:04:59.960 that happened. The people so just left on the look 0:05:00.160 --> 0:05:04.280 that Johan reptile destroying the city. And and and I 0:05:04.279 --> 0:05:08.520 started shooting. I started shooting those super aids. And where 0:05:08.520 --> 0:05:10.800 would you get the films? Like? What was the marketing? In? 0:05:10.960 --> 0:05:14.799 No Internet? They came in cartridges. And then you took 0:05:14.800 --> 0:05:18.360 that cartridge to the pharmacy and you deposited in the 0:05:18.360 --> 0:05:21.520 pharmacy and they said come back in seven days and 0:05:21.600 --> 0:05:24.000 they would send it to Mexico City. I lived in Wallahara, 0:05:24.440 --> 0:05:30.600 which is the second We were like an and and 0:05:30.600 --> 0:05:33.440 and they sent it on seven days later it came. 0:05:33.839 --> 0:05:37.440 And I tell you this, the the greatest drill I've 0:05:37.480 --> 0:05:41.680 ever had was the day I projected that first real 0:05:41.960 --> 0:05:48.160 because there was displacement I I said, I did, Dad, 0:05:48.320 --> 0:05:51.080 that is in the screen where I see the Crimson 0:05:51.160 --> 0:05:54.560 altar and I don't. And there was a magical moment. 0:05:54.640 --> 0:05:57.920 There's a there's a great story by Harlan Ellison called 0:05:58.240 --> 0:06:00.880 The Cheese stands Alone, and it's like that goes to 0:06:00.920 --> 0:06:04.480 a little antique shop and a guys tells him what 0:06:04.560 --> 0:06:06.680 is He says, what isn't that little box? And he says, 0:06:07.360 --> 0:06:10.920 if you open it, you'll know you'll relieve your greatest moment. 0:06:11.440 --> 0:06:13.400 If I'll be there years from now, or it may 0:06:13.440 --> 0:06:17.520 have already happened, I think that's my greatest moment. And 0:06:18.080 --> 0:06:20.640 he opens it and it's a home run. When he's 0:06:20.680 --> 0:06:24.920 seven and he knows now that he'll never never and 0:06:24.960 --> 0:06:27.960 that that rejecting of that super But but no cutting, 0:06:28.000 --> 0:06:31.120 no editing. You had to shoot you like Hitchcock with rope. 0:06:31.200 --> 0:06:35.599 You exactly one shot. That's what I was thinking. Yeah right, No, 0:06:36.240 --> 0:06:39.640 I was. I was just shooting my my toys and 0:06:39.640 --> 0:06:43.080 my actual toys killing each other. And I would throw 0:06:43.240 --> 0:06:46.080 I would make a plastics and guy fill it with 0:06:46.200 --> 0:06:48.560 ketchup and we'll do the roof and throw it and 0:06:48.600 --> 0:06:50.920 it would explode on the when when I was, when 0:06:50.960 --> 0:06:53.039 I was a kid, when my my neighbors had a camera, 0:06:53.080 --> 0:06:55.360 we were little boys, and one of them used to 0:06:55.400 --> 0:06:57.520 subscribe to it. I'm sure you remember this, because if 0:06:57.520 --> 0:07:00.400 you're famous, Monster is a film land magazine, and you 0:07:00.400 --> 0:07:03.599 could get the creature of the black lagoon hands and 0:07:03.680 --> 0:07:06.520 the head and everything. Yeah, I'm sure you did. I'm 0:07:06.520 --> 0:07:08.039 sure you had every one of them in here. No, No, 0:07:08.120 --> 0:07:12.160 I saved enough. I have the gorilla hands and the 0:07:12.200 --> 0:07:17.120 wolfman mask, which was not entirely accurate, but it worked. 0:07:17.120 --> 0:07:19.680 And then I bought you were mingling the species even 0:07:19.880 --> 0:07:26.520 and I had I I bought the gorilla feet, which 0:07:26.560 --> 0:07:30.520 made no sense, but they looked good, but I love them. 0:07:30.520 --> 0:07:33.560 They were done by don't don't post who was a 0:07:33.600 --> 0:07:37.040 great mask maker. But that in Famous Monsters and Mad 0:07:37.120 --> 0:07:41.360 Magazine is where I learned English, with a dictionary on 0:07:41.400 --> 0:07:45.360 the side and and watching in Sundays they would show 0:07:45.440 --> 0:07:48.680 Universal monster movies and I would listen to what they 0:07:48.720 --> 0:07:51.560 said and read the subtitles. And that's how I started. 0:07:51.960 --> 0:07:56.120 At seven, I was fluent in English thanks to Famous Monsters, 0:07:56.800 --> 0:07:59.200 Famous Monsters of Film Laine magazine. We would do these 0:07:59.200 --> 0:08:02.000 things in my and I would have the dracula drag 0:08:02.120 --> 0:08:04.320 on and the fangs, and of course it was silent. 0:08:04.360 --> 0:08:06.560 There was no sound and there was no cuttings. You 0:08:06.600 --> 0:08:08.560 see me holding the woman, which is like the girl 0:08:08.600 --> 0:08:10.240 who lived next door. She was like, you know, seven 0:08:10.320 --> 0:08:13.160 years old. And you see my friend like off camera, 0:08:13.200 --> 0:08:15.160 he's only bite around the neck because you see me 0:08:15.200 --> 0:08:19.400 go what and he's like, bide around. I'm like, oh, 0:08:19.600 --> 0:08:25.000 we ah. You know, if you guys go to Google 0:08:25.080 --> 0:08:27.800 and google for a moment, there's a photo of me 0:08:28.640 --> 0:08:34.160 with fangs and eyes drinking my sister's blood. And you 0:08:34.240 --> 0:08:38.320 remember the fires in California and recently my entire I 0:08:38.360 --> 0:08:42.080 have a collection of strange crap and it's two houses 0:08:42.480 --> 0:08:46.079 a strange crap with secret passages and the fires came 0:08:46.200 --> 0:08:50.520 very very close, and I escaped and the next day 0:08:50.559 --> 0:08:54.199 I came back and I picked up that photograph. This 0:08:54.280 --> 0:08:56.440 is what I want to say everyone to say. So 0:08:56.480 --> 0:08:59.480 when you started, uh, and you were a kid, did 0:08:59.520 --> 0:09:03.480 you Uh? You're doing this and you're experimenting, and of 0:09:03.520 --> 0:09:05.520 course you enjoy it, which I guess it's the one 0:09:06.200 --> 0:09:08.880 foundation of directing is you have to enjoy directing so 0:09:08.920 --> 0:09:13.320 hard and it's such a difficult and require so much patients. 0:09:13.320 --> 0:09:17.440 But when did you start to seriously right when you 0:09:17.480 --> 0:09:20.480 sort of write down? I already was right when I 0:09:20.520 --> 0:09:23.440 started the Super Eights. I was writing short horror stories, 0:09:24.440 --> 0:09:28.040 not very good, and recording them on a cassette. I 0:09:28.080 --> 0:09:30.520 would record a radio play because I was born in 0:09:30.600 --> 0:09:35.320 sixty four, so I when TV ended around nine thirty 0:09:35.360 --> 0:09:38.280 o'clock at night, we would lay on the on the 0:09:38.360 --> 0:09:41.720 kitchen and listen to radio novellas. You know. We would 0:09:41.760 --> 0:09:44.760 listen to radio plays. And there was one called the 0:09:44.800 --> 0:09:47.400 Turn Off the Light and listen, and there was another 0:09:47.440 --> 0:09:49.960 one called the Mad Monk, and this and that, and 0:09:50.000 --> 0:09:52.160 I would listen to this horror stories. So I said, 0:09:52.160 --> 0:09:55.479 I'm gonna write them and make them in little cassettes. 0:09:55.960 --> 0:09:58.760 And you know what happened is as a kid, I 0:09:58.800 --> 0:10:01.160 wanted to be this was my definition of her career. 0:10:01.600 --> 0:10:05.120 I wanted to be a marine biologist that lived by 0:10:05.120 --> 0:10:09.280 the sea, studied, studied the creatures of the sea, and 0:10:09.320 --> 0:10:13.319 wrote horror stories. And I when I found directly and 0:10:13.360 --> 0:10:16.840 said that tops it. It's better. I'm gonna do that. 0:10:17.440 --> 0:10:22.840 But but I started. I remember trying to emulate styles 0:10:23.240 --> 0:10:27.520 when I was a kid. Well, and it's always had 0:10:27.640 --> 0:10:32.000 this dichotomy. For English. I was fascinated when I was 0:10:32.080 --> 0:10:37.480 young by the precise adjectives that Bradbury would use no 0:10:37.800 --> 0:10:41.160 as a young reader. And in Spanish, for me, the 0:10:41.240 --> 0:10:44.480 two guys that captured the language in a way that 0:10:44.720 --> 0:10:47.840 is musical for me is one root for and Hogel 0:10:47.880 --> 0:10:50.760 Louis Borgez, where both they were tremendous when I was 0:10:50.800 --> 0:10:55.480 a kid, a big influence. But it's it took me 0:10:55.520 --> 0:10:58.640 so many years. When I write a screenplay in English. 0:10:59.080 --> 0:11:01.640 The thing that I be labored the most, and I 0:11:01.679 --> 0:11:04.120 think I finally got it right on Ship of Water 0:11:04.240 --> 0:11:07.920 was dialogue. Other than that, I finally you've got it rhinally, Yeah, 0:11:08.080 --> 0:11:12.640 because it's it's very it's very it's very it's very difficult. 0:11:12.840 --> 0:11:15.360 I understand. When I was writing Ship but Water, I 0:11:15.440 --> 0:11:19.560 was watching this beautiful documentary Salesman, which is in the 0:11:19.600 --> 0:11:23.079 sixties Bible sales I'm going to door to door because 0:11:23.120 --> 0:11:25.560 I wanted to get the rhythm of the language back then. 0:11:25.640 --> 0:11:30.760 And it's it's really it's music. And English is very percussive, 0:11:31.600 --> 0:11:35.480 and Spanish is very melodic. We say ten words and 0:11:35.520 --> 0:11:38.960 you guys say two or three. You know, we we 0:11:39.000 --> 0:11:42.680 say my wife or my wife is so stain and 0:11:42.720 --> 0:11:46.600 it could be very percussive to some that's like work 0:11:46.640 --> 0:11:50.680 for I'm afraid that's concussive. Concussive. It hurts, so I 0:11:50.679 --> 0:11:53.280 know it hurts. Sometimes it hurts like hell no, it's 0:11:53.320 --> 0:11:56.160 it's a different rhythm. No, no, no, Well, I mean 0:11:56.200 --> 0:11:58.800 I love scripture. People will send me a script. I was. 0:11:58.840 --> 0:12:01.640 I read a script recently that my uh my partner. 0:12:01.679 --> 0:12:03.560 I have a little kind of micro budget company. We 0:12:03.600 --> 0:12:06.840 produced a film and the writer director we we left 0:12:06.840 --> 0:12:09.679 at this opportunity because he did not have an equivalency 0:12:09.679 --> 0:12:13.080 of everybody's voice and the muscularity of their language. People 0:12:13.080 --> 0:12:15.280 who were simple spoke simply. There's other people who were 0:12:15.360 --> 0:12:17.360 very very intellectual. He was very kind of kind of 0:12:17.840 --> 0:12:19.439 ten dollar words and stuf forth and he and he 0:12:19.520 --> 0:12:22.640 gave a very specific voice in language to everybody, which 0:12:22.679 --> 0:12:24.880 I love. The writing dialogue is very difficult, for that 0:12:25.000 --> 0:12:28.480 is the that is the drama. I think dramaturgy is 0:12:28.720 --> 0:12:31.880 full of many structural things that you can learn, but 0:12:32.040 --> 0:12:36.520 the ear to make each person speak as a character 0:12:36.640 --> 0:12:41.440 completely formed and used, the idiosyncrasies and the mistakes or 0:12:41.480 --> 0:12:45.880 the charming or the overwrought, is really really the art. 0:12:46.040 --> 0:12:48.400 So when does your formal education down there, like when 0:12:48.440 --> 0:12:50.680 you're there? I mean, I hate to say this, but 0:12:50.760 --> 0:12:53.080 you know, in the United States, especially in my youth. 0:12:53.600 --> 0:12:56.080 I'm a lot older now, but in my youth, there 0:12:56.160 --> 0:12:59.480 was still the kind of you know, gleaming idea of 0:12:59.520 --> 0:13:02.480 Hollywood going up to Los Angeles. And now there's the 0:13:02.600 --> 0:13:05.959 diaspora of film production all over the United States. Now 0:13:06.040 --> 0:13:08.400 you know, in Atlanta and all this craziness. But when 0:13:08.400 --> 0:13:12.160 were in Mexico, what was the in Mexico? I was 0:13:12.400 --> 0:13:15.439 I was born and raising Wallahara, so there was no 0:13:15.880 --> 0:13:18.240 there's always in Mexico. When I was growing up, it 0:13:18.360 --> 0:13:22.320 was the capital Mexico City have everything we have to 0:13:22.440 --> 0:13:26.040 go there to learn. We have yeah, and they have 0:13:26.120 --> 0:13:29.360 the festivals blaa. So at one point a group of 0:13:29.360 --> 0:13:32.440 people in Wallahara we got together and we said, there's 0:13:32.480 --> 0:13:36.959 no school, let's create one. There's no festival, let's create one. 0:13:37.440 --> 0:13:40.760 That festival, which we created thirty five years ago, is 0:13:40.800 --> 0:13:44.760 now one of the biggest film festivals in Ina. And 0:13:46.040 --> 0:13:51.160 and uh the school, the schools still running and uh 0:13:51.240 --> 0:13:56.160 and that festival. The first year, I was one of 0:13:56.160 --> 0:13:59.679 the directors with a short film called on Alope, and 0:13:59.720 --> 0:14:02.600 I was the ticket salesman, the projections and the driver 0:14:03.559 --> 0:14:06.960 and pressure. And I think that I remember I told 0:14:07.000 --> 0:14:10.400 you no better on that popcorn, by the way, disappointed, 0:14:10.600 --> 0:14:13.240 I would do that, I would And I think the 0:14:13.920 --> 0:14:16.480 beauty of that. I learned to project. We had a 0:14:16.559 --> 0:14:20.880 center back then, you have no no video cassettes. So 0:14:20.920 --> 0:14:25.000 we had a Revival Club which every Saturday and Sunday 0:14:25.040 --> 0:14:28.600 we would project. We would organize a cycle of movies 0:14:28.600 --> 0:14:34.160 of Fellini, Hitchcock, Bunel uh. And for about eight years 0:14:34.560 --> 0:14:38.480 that was a big film education. But I'm an avid 0:14:38.520 --> 0:14:43.000 reader and n avid watcher, so I read anything I could. 0:14:43.480 --> 0:14:47.440 Under puberty hit and then my interests changed a little 0:14:48.000 --> 0:14:52.320 and I read a little less now when you when 0:14:52.320 --> 0:14:55.000 you're in film school, you attended the film school, Well, 0:14:55.000 --> 0:14:57.760 we created it and from what we did is the 0:14:57.840 --> 0:14:59.840 first jarity on film, so so you can get into 0:14:59.840 --> 0:15:04.800 the I was both the first year we brought teachers 0:15:04.840 --> 0:15:08.040 from Mexico mostly and the second year we were teaching. 0:15:08.920 --> 0:15:12.600 I thought I got film language, and I think, I 0:15:13.520 --> 0:15:16.520 love teaching. I do this day. I love teaching. I 0:15:16.560 --> 0:15:19.880 love explaining time for that, you know, I do it 0:15:19.920 --> 0:15:21.920 now and then I grew. I still do it now 0:15:21.960 --> 0:15:26.760 and then I have right now my focus is animation 0:15:27.400 --> 0:15:31.400 and I still go to Galalajara and I have we're 0:15:31.480 --> 0:15:35.800 creating an animation workshop for stop motion, and I created 0:15:35.840 --> 0:15:38.600 a couple of scholarships, and I still got to the 0:15:38.600 --> 0:15:42.720 animators and I tell them how to structure a screenplay. 0:15:42.880 --> 0:15:47.280 And I love when you explain something, you really learn it. 0:15:47.720 --> 0:15:51.680 When you directed your first feature, which was Chronos, you 0:15:51.760 --> 0:15:55.200 directed Chronos, you shot in Mexico City, Yeah, yeah, there was. 0:15:55.360 --> 0:15:59.360 There was. What what I would have liked as a career, 0:16:00.080 --> 0:16:02.640 I would have ambitioned and I would have loved was 0:16:02.720 --> 0:16:07.560 to be a weird guy in Wallallahara doing weird movies 0:16:07.600 --> 0:16:11.520 in genres in Wallallahara. So I wanted to do noir film, 0:16:11.560 --> 0:16:14.640 noir in my in my streets. I wanted to do 0:16:14.720 --> 0:16:18.400 horror in my streets. So Chronos came out of that. 0:16:18.560 --> 0:16:22.280 I wanted my I lived with my grandmother many many years. 0:16:22.560 --> 0:16:28.280 She was very, very Catholic and exercised me twice and 0:16:28.360 --> 0:16:33.360 I I we had a blamer, do you no, No, 0:16:33.400 --> 0:16:36.240 I would have done the same. I wish she had 0:16:36.280 --> 0:16:41.440 controlled my car intape. You know she didn't. She gave 0:16:41.440 --> 0:16:46.080 me a friend chicken, the least provocation for breakfasts on level. 0:16:48.320 --> 0:16:51.120 The thing is, I felt I wanted to tell a 0:16:51.160 --> 0:16:54.400 story of a grandfather and a granddaughter, and the grandfather 0:16:54.520 --> 0:16:58.120 was a vampire, and the granddaughter loved him no matter what. 0:16:58.800 --> 0:17:01.840 Basically all my movie are about loving someone no matter what. 0:17:02.560 --> 0:17:05.760 All of that and and and uh, and I thought 0:17:06.280 --> 0:17:09.359 I'll write it for the province, and then we just 0:17:09.480 --> 0:17:12.720 moved into Mexico City. That was a very difficult movie 0:17:12.760 --> 0:17:15.879 to make. What did you learn when you're on the 0:17:15.920 --> 0:17:19.280 set making your first feature and you have some resources, 0:17:19.280 --> 0:17:21.280 maybe not as the kind of resources you would eventually 0:17:21.320 --> 0:17:23.920 have to make, It's all the same. I was gonna say, 0:17:23.920 --> 0:17:26.080 what was what were the things that with the big 0:17:26.200 --> 0:17:28.879 learning curve for you in the practical experience of your 0:17:28.880 --> 0:17:32.480 first home, the thing that you get a horrible, horrible 0:17:32.560 --> 0:17:36.760 lesson early on, because Coronas told me about eight years 0:17:37.359 --> 0:17:41.800 to get me. And I remember there was a beautiful 0:17:41.840 --> 0:17:44.600 scene which is not in the movie where he comes 0:17:44.640 --> 0:17:48.240 back if any of you saw it. The guy restorects 0:17:48.240 --> 0:17:51.199 and comes back and he cannot wake up his wife 0:17:51.560 --> 0:17:54.159 because she thinks he's dead. He's living in the attic 0:17:54.160 --> 0:17:57.600 and a toy box, you know. So he went to 0:17:57.720 --> 0:18:00.480 see her and he wanted to touch her but he couldn't, 0:18:00.680 --> 0:18:02.639 and he wanted to lay next to her but he couldn't. 0:18:02.640 --> 0:18:04.800 Then he laid on the floor and I had a 0:18:04.840 --> 0:18:07.520 top shot of him laying on the floor. It was 0:18:07.680 --> 0:18:12.040 like a beautiful, little tender scene. And it was one 0:18:12.080 --> 0:18:14.560 of the scenes that I made the movie for Lah 0:18:14.600 --> 0:18:17.879 Lah Lah. And it came and things happened, and it 0:18:18.000 --> 0:18:21.520 went wrong and it went away, and you never forget that. 0:18:22.000 --> 0:18:25.320 You really, as a direct doesn't no, but you you 0:18:25.480 --> 0:18:28.800 need to know that what you're doing is and you're 0:18:28.960 --> 0:18:33.480 orchestrating an accident and you only get one chance of 0:18:33.640 --> 0:18:36.520 really getting it and then you moved past it. To 0:18:36.640 --> 0:18:40.919 this day, I have only re shot something one in 0:18:41.040 --> 0:18:44.920 Pan's Laverne an additional shooting to three days on on 0:18:45.080 --> 0:18:48.359 Pacific rink, because you prepare so extensive. I prepare because 0:18:48.400 --> 0:18:51.840 I say, this is what it's gonna go away, the fear, 0:18:52.320 --> 0:18:54.520 or what it's gonna wear. You know how people dream 0:18:55.040 --> 0:18:57.920 that they go to school and they're on their pajamas. 0:18:58.800 --> 0:19:02.159 I dreamed that I come to said and and something 0:19:02.240 --> 0:19:05.440 goes wrong, and I said, it's not radio, and I 0:19:05.520 --> 0:19:10.240 have to and I prepare really well because then there's 0:19:10.320 --> 0:19:13.040 room for him now. And as you said, the arc 0:19:13.200 --> 0:19:15.160 is the same, so that now in your career where 0:19:15.160 --> 0:19:17.960 you have this huge career making films, and the budgets 0:19:18.000 --> 0:19:21.000 are of course so much more significant, but the methodology 0:19:21.080 --> 0:19:23.920 is the same to you. There's always there is now. Well, 0:19:24.119 --> 0:19:25.680 let me let me put it this way. I have 0:19:25.880 --> 0:19:28.240 made movies for one point nine million, and I have 0:19:28.359 --> 0:19:32.160 made movies for a handred million. Oh, I know the procedures. 0:19:33.119 --> 0:19:36.880 The procedure is exactly the same, because as a director 0:19:37.119 --> 0:19:41.600 is your duty to your responsibly always exceed the scope, 0:19:42.880 --> 0:19:46.440 exceed the budget. But we talked about you always other 0:19:46.560 --> 0:19:49.480 in other words. In other words, if you have enough 0:19:49.600 --> 0:19:53.480 time and enough money, you're sucking up you you you 0:19:53.760 --> 0:19:56.440 you have wrong. I may be fat here, but I'm 0:19:56.480 --> 0:19:59.200 not fat here. So you know here is like a 0:19:59.359 --> 0:20:06.879 six pag on the you know here chisel. But but 0:20:07.600 --> 0:20:12.880 it's do do give me On a Campbell Shape of Water, 0:20:14.240 --> 0:20:18.000 it's nineteen point three million and the scope is much bigger. 0:20:18.320 --> 0:20:21.720 And I remember on the first Hellboy, Uh, they came 0:20:21.800 --> 0:20:24.040 in and I have all these things, and they said 0:20:24.080 --> 0:20:26.280 you have to call what was it, You have to 0:20:26.320 --> 0:20:28.920 call seven million? And I said, okay, I'll add on 0:20:29.040 --> 0:20:33.159 actions in yeah, to screw you all of actions. So 0:20:33.359 --> 0:20:37.040 I I added the scene where the pendulum destroys the bridge. 0:20:37.480 --> 0:20:39.440 It was not in the original budget, and we ended 0:20:39.520 --> 0:20:42.040 up on their budget. Still Shape of Water we ended 0:20:42.080 --> 0:20:44.200 up two hundred dollars under budget. But that is the 0:20:44.240 --> 0:20:46.840 most amazing thing in the ark of my work in 0:20:46.960 --> 0:20:50.160 films to go now to these super micro budgets where 0:20:50.200 --> 0:20:52.440 it's like, you know, if I do uh, you know, 0:20:52.520 --> 0:20:55.280 like a small row in like mision impossible. And then 0:20:55.320 --> 0:20:56.960 I go to another movie and I'm on the set 0:20:57.000 --> 0:20:59.320 of a movie where I'm saying the entire budget for 0:20:59.400 --> 0:21:02.680 this movie. Is the budget for Tick tax on Mission Impossible? 0:21:02.760 --> 0:21:05.200 You know, I mean they like Mission Impossibly, Like you 0:21:05.280 --> 0:21:07.200 can't believe how much money they have. But you have 0:21:07.400 --> 0:21:09.560 to keep going back and forth. Yeah I do. I 0:21:09.640 --> 0:21:13.360 mean you're doing cardion muscles, you know you're doing You're 0:21:13.400 --> 0:21:16.440 doing different exercises when I go up to a smaller movie. 0:21:16.600 --> 0:21:19.600 That's why I used to do an American movie on 0:21:19.720 --> 0:21:23.280 a movie in Spanish as director, because I wanted to 0:21:23.480 --> 0:21:27.160 force myself to go back to tighten the muscles. Because 0:21:27.400 --> 0:21:30.280 those muscles and this ones and and and and uh 0:21:30.400 --> 0:21:34.520 and what is beautiful about it is you realize. I mean, 0:21:34.680 --> 0:21:36.520 have you ever been on a movie where you go, 0:21:37.359 --> 0:21:39.400 we have enough time to get this in right? There's 0:21:39.440 --> 0:21:42.320 always you always is an oppressed I had. I had 0:21:42.320 --> 0:21:44.320 a friend who wrote me into not racial sage from 0:21:44.359 --> 0:21:46.520 He asked me to a film, good script, good director. 0:21:46.880 --> 0:21:48.919 And we go to shoot the film and we're shooting 0:21:49.200 --> 0:21:52.399 the big action scene as a like a shootout with 0:21:52.440 --> 0:21:55.200 the cops on this bad guy and uh. And we 0:21:55.320 --> 0:21:57.840 go to Griffith Park and we're gonna shoot. We're gonna 0:21:57.840 --> 0:22:00.520 do night shooting on the shortest night of the year. 0:22:01.720 --> 0:22:04.240 So we have like less time, and when I'm going, okay, Phillis, 0:22:04.560 --> 0:22:06.760 it's the shortest night of the year and we want 0:22:06.800 --> 0:22:08.560 to kind of get these shots. So we're sitting at 0:22:08.560 --> 0:22:10.639 a picnic table and I said, so we do have 0:22:10.760 --> 0:22:12.960 video playback, and the guy goes, now, we don't have 0:22:13.040 --> 0:22:15.520 video playback and I and I said, I said, I 0:22:15.520 --> 0:22:18.560 don't want video playback every day, but for this one 0:22:18.680 --> 0:22:21.200 day of action, I said, you don't have video playback. 0:22:21.640 --> 0:22:24.400 And it was a low budget film where they paid 0:22:24.480 --> 0:22:26.000 me x and they got and then guy goes, we 0:22:26.200 --> 0:22:28.359 don't we don't have any video money for video playback, 0:22:28.440 --> 0:22:34.680 because they pointed at me, and I go what. He goes, well, 0:22:34.720 --> 0:22:37.399 we gave you all the money we had and we 0:22:37.440 --> 0:22:39.040 don't have any money, and like, you don't have any 0:22:39.040 --> 0:22:42.320 money to shoot the fucking film, you know. But I've 0:22:42.359 --> 0:22:44.280 learned about that meeting, why I will do films now 0:22:44.359 --> 0:22:47.520 and I'll say, don't pay me this, pay me less. 0:22:47.960 --> 0:22:49.480 So we haven't so we have at least a chance 0:22:49.560 --> 0:22:51.760 to make a good movie. Well, I'm happy, Tom, I'm 0:22:51.840 --> 0:22:54.760 happy for the year. You'll say that you don't gonna 0:22:55.160 --> 0:22:57.760 because then there's other movies where we hold their head underwater. 0:22:58.240 --> 0:23:01.320 By the way that they we gave a financial talk, 0:23:01.440 --> 0:23:05.360 dont come not because I'm the same way I put 0:23:05.440 --> 0:23:09.080 all my salary and shape of water, uh entirely. And 0:23:09.200 --> 0:23:13.879 I said, how the way the way I see it is, 0:23:14.080 --> 0:23:16.440 I say, I call it guard and I want that 0:23:16.680 --> 0:23:18.840 on my wall. So I'm gonna pay for it, like 0:23:18.920 --> 0:23:21.000 I would pay for a painting. So why don't I 0:23:21.040 --> 0:23:23.200 pay for an extra day? Why don't I pay for 0:23:23.240 --> 0:23:26.479 an extra little piece of set I wanted? And I mean, 0:23:26.680 --> 0:23:31.439 I think, uh, I've always find that the rewards are 0:23:31.560 --> 0:23:37.720 bigger when emotionally and existentially when you do that, I 0:23:37.920 --> 0:23:41.800 think I've never done it any other way. I put 0:23:41.840 --> 0:23:44.960