Transcript of Every Yorgos Lanthimos Movie, Explained by Yorgos Lanthimos | Vanity Fair
Vanity Fair
0:00There is creative control in terms of0:02like nobody tells me what I can or0:05cannot do apart from reality.0:18[music] I'm yoursos. I've made nine0:20feature films and we're going to talk0:22about all of them. Kineta0:26I was making commercials for a few0:29years. I started quite young like 19 200:32years old I started directing0:34commercials and when I went to film0:37school in Greece I mean there wasn't and0:40there still isn't such a great0:42educational system uh in terms of cinema0:45there were very few films being made and0:48to think that you know like a young0:52person would say this is what I'm going0:54to do in my life felt like totally0:57absurd0:58So doing commercials was like an1:01indirect way of being in contact with1:04something that felt relevant to film1:06making. And I never thought that I would1:08actually get to make films.1:14[music]1:18>> Since we were making enough money from1:20advertising, we just decided that we1:23could do it ourselves and we didn't need1:26that much. We just could get a, you1:28know, 16 mm camera and, you know, go to1:31a place with three actors and just, you1:34know, film stuff and we don't need1:36lights, we don't need makeup, we don't1:38need anything. You know, we can just do1:40it like that. You know, whatever we1:42needed, we had to borrow it from1:45someone. You know, if I wanted a red car1:48and I didn't have a friend who had a red1:50car, like I we had to pay for a red car1:53and we didn't have any money.1:57after so many years of doing commercials2:00and you know we we just had an aversion2:03to that and we just wanted to do2:05something totally rough and so2:08spontaneous in every way and I think it2:11was my most fun experience on a film set2:14because you know we're so naive we never2:16knew even if anyone was going to watch2:18that film we just did it you know for2:20ourselves2:34very early on. I'm I uh also recorded uh2:38dance performances and I was interested2:41in it. I had friends who were, you know,2:44great choreographers2:46and so I was really around2:49uh dance, dance theater early on and I2:53guess it influenced, you know, how I2:56like to approach performance,2:59rehearsals.3:01It was trying to figure out what it is3:04that I'm that doesn't appeal to me in3:07the things that you know constitute you3:10know advertising commercials you know3:13that world that aesthetic and trying to3:16figure out what it is that I I am3:19attracted to and how things could be3:21different which I guess was to a to an3:25extreme because if you start from I3:29don't like this I want to do something3:31different. You you know you you usually3:34find the other extreme which is an3:37interesting and useful I think process3:41dog tooth.3:44While I was working in advertising I had3:46met Fimus Filippu who's someone that I3:50worked with on on many films. We became3:53really good friends and very close and I3:55knew him from advertising. He was a3:57copywriter in an advertising agency and4:00he'd never written a screenplay before4:04and but I you know I could see even in4:07the work that he did there that he had a4:09very special mind just the stuff that he4:13was coming up with you know for4:15commercials that most of them never got4:17made or we made them and then the4:20clients wouldn't want them wouldn't air4:23them and I suggested to him you know if4:26you wanted to write a screenplay4:28together. And I brought him the idea of4:31Dog Tooth, which was like, you know,4:34like a really simple idea of what if,4:38you know, there was this family that uh4:41raised their kids in a way that they4:43didn't know that the rest of the world4:45existed.4:53I when I gave him the idea, he just4:55wrote some scenes like five scenes of,4:59you know, what that ignited in him is5:02for this kind of story to work. You5:04needed certain things to be a certain5:06way for the premise to work. So, we need5:10to find a certain type of house that had5:12a fence, which it didn't. So, we had to5:15build the fence. All of a sudden, we5:17started needing to find resources that5:20we didn't have to before. So, there was5:22a lot of that going on, which kind of5:24stressed me out. And then, I don't know,5:27there's blood and things and uh more5:31complicated5:32film stuff that we needed to just figure5:36out, you know, how to do with very few5:38resources.5:45For some reason, I absolutely wanted to5:49shoot that film anamorphic. So, we we5:53had to find a camera for someone to give5:55us a camera almost for free and lenses,5:58anamorphic lenses for free. Um, and we6:01found this camera by this guy who, you6:06know, had cameras, but this camera was6:07working a lot on music videos and6:09commercials. So they would just up6:12with the lenses and you know they would6:15unscrew them and swirl them or whatever6:18to do effects. And so we got the camera6:21and the lenses and most of them were6:23like were like totally out of whack and6:26you know we were trying to calibrate6:28them and we just you know we didn't know6:30even how to and we couldn't and there6:32was one lens the 50 mm lens that was6:36fine. So we decided to do the whole film6:40on that lens6:42and again you know in the process that6:46was very freeing because you know there6:49are no choices there's this that that6:50lens just move the camera around that's6:53it like you don't have to make a choice6:55about that which frees you to be more6:58focused on other things.7:07There's a work ethic with the actors and7:09everyone involved like you know you just7:11you know work because you love it and7:14you know you can stay for half an hour7:16you know more if you need to in order to7:19make it better because all everyone's7:21working towards you know the same goal7:23and you know everyone's very flexible7:26and love what they're doing and it's7:28it's not about you know money and being7:31paid and so it's it's easier to just,7:35you know, devote your time and yourself7:38in something that, you know, everybody's7:40investing.7:54You know, building a world with rules7:56that, you know, seem kind of over the8:00top for us enhances the observation of8:04how people behave within such a world.8:09You know, humans need to question the8:12world around them. And that includes you8:15know the structure which is constructed8:18by rules and uh traditions and everyday8:24behavior that becomes a given and I find8:28it find it interesting to question a lot8:30of all of those things and I don't think8:32there can be progress in any way without8:35having people questioning you know the8:38state of things at different moments in8:41time.8:43Alps.8:45There was a a lot of noise around Dog8:48Tooth. It was something like the appeal8:53and the notoriety of it in a in a8:56certain sense. We didn't expect at all.8:58And I think I had like a strange9:00reaction to it. the fact that it was9:03like getting all of these awards in9:05every festival and you know starting9:08from can and it it went all the way to9:11the Oscars and at that time you know the9:14AA to me wasn't that diverse and you9:17know it was quite surprising becoming9:20this thing kind of created like a a9:24weird negative reaction in me and then9:27there was all these you know actors9:29contacting me saying they want to work9:31with me and you know I got agents and I9:34went like9:36to meetings in LA and I didn't know what9:39I was doing there really. I felt it was9:42extreme and I felt it was fake in a way.9:45So I think my reaction to that like was9:47like let's not listen to all that and9:50let's let's just go and make another9:52film the way we make films.10:18I think if Theis came up with the the10:20initial idea, I think there was like a10:23letter that a friend found10:26uh under his doorstep. step of a guy10:28that was offering his services as a10:32friend or a companion for, you know, a10:35certain fee for a certain time. You10:38know, we started discussing it and then10:40we, you know, we kind of shifted it to10:43like what if you lose someone you love10:47and you want to find a way to kind of10:50keep them alive somehow. And what if10:53there was like this, you know, group of10:56people that offered that kind of service10:57to pretend to be, you know, your dead11:01husband or wife or friend.11:25In this film, there were a lot of11:28written scenes with a lot of people that11:32hadn't acted before, friends, people11:35that we friends of friends. And that11:39really excited me and what happened11:41between the actors and and the11:42non-professional actors. So I try to11:45work with people that have a specific11:47voice and see how I can integrate that11:51in my way of you know viewing the world11:55and film making. There's a very11:58interesting tension between the11:59experienced actors with people that have12:01never done it before because one doesn't12:05know what to expect from the other and12:07there's that unpredictability12:09and it creates this tension and energy12:12that wouldn't be there if it was like12:14two actors like knowing how they're12:16going to do it and where they're going12:18to go next. And so I really love that12:21kind of dynamic. And you know, a lot of12:24the people in Alps that were not actors12:27were like there was the waiter from my12:31favorite cafe and there was a lawyer12:34friend of mine. Yeah, that that was12:36something that I kind of kept and you12:40know try to do in every film at12:42different levels.12:45the lobster.12:49After making three films this way12:51basically in Greece, that's why I12:53decided that I, you know, I needed to12:55have a few more means to in order to be12:58more in control of the uh the result of13:02what I wanted to make. I decided to move13:05to London uh and make English language13:08films. I realized that it was actually13:12more difficult than I expected to make13:15my first English language film, The13:17Lobster. Um, well, it it took a long13:20time to put it together because maybe13:24some of it was my fault, but certainly13:27there was a misleading enthusiasm about13:29my work. But when I presented The13:33Lobster, people didn't really react well13:36to it. They thought that I decided to13:40make English language films in order to13:42make like more conventional films. That13:45was the expectation. I realized what we13:48expected was that you're going to make13:50something, you know, in the English13:52language which is, you know,13:55conventional, but you you'll do a little13:57bit of a twist to it because you're like14:00different. And it only really managed to14:05happen when Colin Farrell and Rachel14:08Vice got involved.14:10>> Are you planning on buying anything else14:11nice for yourself while we're here?14:13>> Yes. Contact lens solution and a Parker14:17roller ball.14:19>> I didn't know you were shortsighted.14:23>> I'm shortsighted, too. Now I was working14:26in a totally different structure in a14:28professional environment in places that14:31were there was a film industry and there14:33were rules funnily enough that I had to14:37kind of abide by. I think it was the14:40first or second day on set where the ad14:44was next to me with his watch and going14:47like I go like what's what's wrong with14:49your watch? Is there something wrong?14:50Like what's what's going on? And he goes14:52like, "You have two two more minutes to14:54finish this scene." And they were like,14:57"What?" I thought he was joking. Really?15:00I mean, my idea was like doing laundry15:04and driving people around and like also15:07doing the schedule and like uh setting15:10down the tracks and like everything. He15:14wasn't like next to me going like I have15:16to hurry. So it was it was quite15:18shocking and you know I I got acquainted15:22with a different type of mentality which15:24is like you know this is our job but I15:28throughout you know making the lobster I15:30just couldn't get over how people that15:33are making films which to me was like a15:37gift and magical and I could never15:40imagine that I could do it as a real15:42thing. you know, anyone that's involved,15:46how could they not care and how could15:50they not literally gift two extra15:54minutes to get the shot, you know,15:58right? But I guess I you know I I16:00understand that you know with structure16:04and resources you know there needs to be16:08you know a set of rules otherwise like16:11you can go rogue and there's so many16:13people involved that actually you know16:15do make a living through that and you16:18know there needs to be regulation. Man16:21eats alone.16:34Well, there's a thing that I don't want16:36to discuss with actors. What the16:39character is,16:41how they should do it, what's their16:43background. I'm not doing any of that16:45because I don't want to limit it. I16:49don't want to narrow it down to16:51something very specific. I also don't16:54want to do it because I want to be as16:56objective as possible while I'm watching17:00them perform because I feel like if17:03we've agreed, oh, this character is this17:06way, so he walks this way and he speaks17:08that way. Then, you know, we don't have17:12any distance to go like that's stupid,17:15that looks terrible. So if we haven't17:17agreed that I don't know what it is that17:19you're bringing, you know, I can just be17:22almost as an audience member and go17:23like, "Okay, come in through the door."17:26And then I I could go like, "Why are you17:28walking like that? That's that's17:31ridiculous." Like, "What are you doing?"17:34Killing of a Sacred Deer.17:37After we finished the screenplay, I felt17:40that it was more of an American film, an17:43American story, that it would kind of be17:46more grounded in a way in America. Felt17:49felt more natural place for it. We were17:54very scared because we heard all these17:56stories about how it works in America17:59and how, you know, restricting it could18:02be. I mean, it's like with the unions18:04and what you can do and you you what you18:06can't do and it's going to be18:07complicated d and all of these things.18:10It works in a different way and it's18:12more expensive and you know all that.18:15But somehow we filmed in Cincinnati and18:20it was like the beginning of this period18:23of Cincinnati becoming like a popular uh18:27place to make films. One of the reasons18:29was like it had this incredibly18:32state-of-the-art hospital which was a18:35key location for the film that was very18:38new and some of the floors were still18:41empty. They weren't being used yet.18:43>> Eat a donut.18:45>> I don't want it. Dad,18:46>> you do?18:48>> But you're afraid your mother and I will18:49tell you off for eating donuts. I just18:51had this idea that the camera was a18:55presence that was observing the18:58characters and would, you know, normally19:00be somewhere high up looking at them or19:03somewhere really low hiding, you know,19:06watching these people. So that was like19:08the the first inclination in order to19:12come up with a set of rules of how are19:15we, you know, filming this? used zooms,19:19you know, quite a bit. So, there was19:21that kind of style reminiscent maybe of19:25like '7s films or horror films, which I19:30guess the film flirts with, like flirts19:34with a genre.19:36>> Stop talking.19:36>> Don't you understand that you're wasting19:38time and you don't have much time left?19:41>> I said stop talking,19:43>> Steven. It's going to be better once19:45it's done.19:47Start over. Clean slate. Don't you get19:51it?19:53Sometimes I think you're naive, but you19:55can't be naive. You're a man of science.19:57>> The Killing of a Secret Deer for me was19:59my version of a horror mystic kind of20:04film. But also what happened in the20:07process of writing this screenplay was20:10that I realized there were quite a few20:14parallels with you know an ancient Greek20:17tragedy uh ifia20:20and we you know we we threw in a couple20:24of things from that as well although we20:27didn't start thinking you know let's you20:29know adapt that as we were writing the20:32screenplay we went like oh that kind of20:34is reminiscent of some aspects of you20:36know that. So I mean the the title20:39itself is you know the killing of a20:41sacred deer is like how the story of the20:43tragedy starts is like this sacred deers20:47killed and it ignites you know whole war20:50and drama and blood shed.20:55The favorite.20:58The favorite was actually a project that21:02we were developing for a long time.21:04Well, even before I was involved, there21:06were many years of that story being21:08developed with different writers. Um,21:12and then I I started searching for the21:16appropriate writer to work with on it.21:20Um, and we discovered Tony like Namara21:24who's an Australian writer and21:28it it it clicked again kind of in a21:30similar way that I clicked with theis. I21:33found someone that I felt had a strong21:36voice. My vision of the favorite really,21:40you know, matched his voice.21:43>> Seems you've allocated even more money21:45into the abyss that is this fool's era.21:47Oh. Uh, yes, we will win. Sarah is21:50[music] sure we will win.21:51>> This is the landholders tax. You have no21:52idea the firestorm of rage you have set21:54loose in the countryside.21:55>> Really? Are they angry? [music]21:56>> Dearest queen,21:57>> how do you like my stockings festive?22:00>> Very, I was just explaining to the22:02[music] queen a mistakeless taxes. The22:04war as well. We should sue for peace.22:05>> Oh, Holly, you are such a bore.22:07>> I really wanted Olivia Coleman to play22:10the part of the queen. And when we22:14scheduled it for production, she wasn't22:17available. And I just went, I don't want22:20to make this film without Olivia. Why22:23don't we just, you know, wait for her22:27and make The Killing of a Sacred Deer,22:30which is, you know, a screenplay that we22:32have ready. And you know, people22:35involved in that in the favorite kind of22:37freaked out that it was like being22:39postponed again once again because it22:41was a project that was around for many22:43years. Uh but I just, you know, I really22:46couldn't think of anyone else playing22:49that part except Olivia,22:55>> Mr. Freeman,23:01Mr. Moley. I guess it's my tendency to23:04try and break again rules and what's23:06been done with the genre before and I do23:09look at films that did that like uh23:12there's there's also you know apart from23:14Abados that I think it's you know23:16incredible there's the madness of King23:18George was a great period film made23:20Peter Greenways uh the draftsman's23:23contract we looked at I mean a lot of23:25the I think some of the actual wigs we23:28might have found that were used there23:29and we made them even you you know,23:32bigger and weirder and23:35>> what an outfit.23:37>> Thank you.23:38>> But that kind of minim minimalism23:41visually of that film. But then, weirdly23:44enough, I remember showing Robbie, which23:48was the first time actually working with23:50Robbie Ryan, the cinematographer. Stuff23:52like possession, Zilowski's possession23:55in terms of like how the camera moves23:57and interacts. And um and I started24:00having an interest in,24:03you know, wider lenses. It started on24:06the killing of a sacred deer, you know,24:08having that kind of approach and then it24:10went further with her favorite.24:14>> The queen has decided, Harley,24:15>> I disagree24:17a lot. I would like an audience with the24:19queen where I may state my case.24:21>> State it to me. I love a comedy. Is24:23there cake? During that time, mind you,24:25there was a rule of using no artificial24:28lighting uh all the way over to the24:32favorite. I wanted to maintain that kind24:34of freedom on set. So, the first time I24:37met Robbie Ryan, I went like, you know,24:39I want to make this film, but you know,24:42have in mind, I don't use lights. We24:45just use natural light or candles or,24:48you know, practical lights. But I, you24:51know, I don't want any lights on set. I24:53don't want to be waiting around when24:55we're, you know, changing setups to24:58light people's faces and all that. And,25:01you know, Robbie was, you know, game25:04like he actually took it very seriously25:08to the point of a few days before25:11shooting a a night scene outside the25:15castle, he went to me and went like,25:17"So, you know, like you said, we're not25:20using any lights. How are we going to25:22shoot outside at night with no lights?25:26And I go like, Robbie, I mean, we're25:30going to get lights for the night scene.25:32I mean, I I meant it as a like a the25:34general rule. There is no way of25:36shooting [laughter] without lights. To25:38me, it was like so like telling of how25:42he, you know, devoted he was in like25:44maintaining the rules of the game that25:47he was like trying to figure out how25:49we're going to shoot at night pitch25:52black with no lights.25:55>> Do it again.25:58The favorite was, you know, Emma Stone26:00enters and I find, you know, a kindred26:04spirit, like someone that I communicate26:08without without having to say anything.26:11You know, we have a similar sense of26:13humor and it's easy and funny and26:18obviously a great actress and gets it26:21and you know, it just feels right. So by26:25the end of it, we just, you know, told26:28each other, you know, I I really want to26:32do this again, you know, and we meant26:35it. Um, as history has showed.26:40Poor Things.26:42So Poor Things, I thought it was perfect26:45for Emma. She fell in love with it as26:47well. She fell in love with the26:48character immediately. That film was, I26:51guess, different in every aspect, you26:54know, from telling Robbie we're using no26:56lights and him going like we're going to26:59do at night to say to saying this is all27:03going to be in a studio. Everything is27:06is going to be a set, even exteriors,27:09the cities, everything will be built.27:24We're shooting a lot of different27:26stocks. We're shooting black and white.27:28We're shooting color negative. And we're27:31shooting ectochrome as well. When we27:34watched the first images, we were like27:36blown away. We also tested Vista Vision27:40for the first time. And we shot one27:44scene of Poor Things on Vista Vision.27:46the reanimation scene that had no27:48dialogue because, you know, all of the27:52Vista Vision cameras that we knew that27:54were working, you know, are extremely27:56loud,28:00[music]28:06but we also pushed, I think, the the use28:09of, you know, wide angle lenses as much28:12as we could. And again being driven by28:15this28:16story which felt so otherworldly and28:21using 4 mm 16 mm lenses on a 35 mm28:25camera. Uh you know producing those you28:29know port hole views of the world and28:33miniatures and LED walls and just trying28:37to create this world.28:40um mostly28:43being inspired by you know old school28:46analog film making like as it would be28:49you know back projections some of the28:51sets were actually you know painted28:53backdrops that we later enhanced in28:56post-prouction so it was like a way of28:59merging you know all this old school29:01type of cinematography building those29:03sets painting the backgrounds and then29:06using either stuff that we created29:10painted, animated on an LED screen so29:15that you know it's uh more efficient to29:18film it. But everything was created by29:21us.29:22>> Do you, Bella Baxter, take this man as29:26your husband?29:27>> Did we miss the part about anyone29:28objecting to this or has that been29:31removed in some kind of faux29:33modernization of the catechism?29:38Hello, Victoria.29:40You look well.29:42[music]29:42>> Do you refer to me?29:44>> I just worked by uh researching music,29:47listening to a lot of music while I was29:49in the editing room, trying things and29:53managing to find the exact thing that29:56felt right uh for each scene and for the29:59film as a whole. I listened to30:01Jeruskin's first album which is very30:06complex but essentially a pop album but30:09had such versatility in terms of sound30:12and composition and I just felt that I30:18again like I found someone that30:20creatively is extremely interesting and30:22I'm very I feel very close to in a way.30:38the first, you know, demos that he sent30:41to me, I cried basically cuz it it was,30:45you know, again, another moment of going30:49like, you know, this I found a person30:52like he gets it. This is what he's30:56created is already as a demo, you know,30:59moving. So, he composed the entirety of31:02the the score before we even shot a31:05frame of the film.31:08Kinds of kindness.31:11Kinds of kindness uh came out of the31:13need to do something different to what31:16we had done with ais. And I think that31:19at that point we came up with the idea31:21why don't we just make a film like a31:24tptic or and we didn't know if it was31:26going to be like individual stories as31:29it ended up being or they would you know31:31overlap and show them in parallel but I31:34think when I also had the idea of using31:37the same actors as we were writing the31:39script I kept thinking that it would be31:41interesting to use the same actors in31:43the different parts. So that made it31:46clear that we had to make the stories31:49separate so that you wouldn't be31:51confused with the same actors if the31:53stories were were told in parallel and31:56not one after another. So that came out31:58of that need of doing something32:00different with Athemis and also working32:02you know again with Emma and having the32:05opportunity to do something different32:06with her and also working with other32:09people that I wanted to work with like32:11Margaret Collie and Jesse Clemens32:13William that we worked together on on32:16poor things and he's another you know32:18part of the troop. Raymond,32:21I've given this a lot of thought and I32:24can't do what you are asking me32:26>> again. Come in and sit down there before32:29you speak.32:32>> Raymond,32:33>> I I I want you to come in and sit down32:35there before you speak. Vivian32:47>> I'll leave you two alone now.32:50>> I always try to have some time of32:53rehearsal with the actors. Sometimes,32:55you know, the period is really short32:57because we don't have them for a long32:59time and sometimes we do get more. uh on33:02the favorite actually we had plenty of33:05time to rehearse and also you know33:09that's when Emma became acquainted with33:12the way of the way I like to rehearse33:14with the actors which is basically33:17uh not rehearsing the scenes and the33:20dialogue as they're supposed to be in33:22the film but doing the exact opposite33:25kind of deconstructing them not think33:28about the character and how they're33:30going to do it and how they're going to33:31perform. form, but going through the33:34lines while playing games, while doing33:36silly things and getting comfortable33:39with each other, getting comfortable33:41with making a fool of themselves in33:43front in front of everyone and not care33:46about, you know, how they're perceived33:48or anything like that and at the same33:51time like ingesting the text but33:55unconsciously without thinking about it33:59um intellectually. I think, you know, I34:02just keep saying it's a process of like34:03just creating this family or group or34:07troop that just gets bigger and bigger34:11and someone is added every step of the34:13way.34:14>> Should we all go upstairs to the34:15bedroom?34:20>> I think it's best we don't go up to the34:22bedroom tonight.34:25>> So, what we're going to on the34:27table.34:28>> Come on, Daniel. That would be weird.34:31>> We we we'd better be getting home soon,34:33Liz. Look, you must be tired and I I I34:36have to be up early. But everything was34:38wonderful tonight, though.34:40>> I think you're right. I think we should34:41leave it for some other time. Maybe next34:43time.34:47>> I'll clean up the plates.34:50I just can't stand having food in front34:51of me when I finished eating.34:53>> I will help.34:54>> No, Martha, you sit. I'll be right back.34:56>> No, I want to. Please.34:59Thank you.35:00>> Just you know maintain that kind of35:02enthusiasm and intimacy with you know35:05the actors and you know keeping it as35:08simple as possible and focusing on the35:10essence of things.35:13Bugonia35:15Bugonia was the first time that I35:17received a screenplay and I felt that I35:20wanted to make it like almost as it was.35:24I had never had that experience before35:26and I read the script. I got really35:29excited. Uh and I sent it immediately35:32the same night to Emma and she had the35:35same reaction and we very quickly you35:38know decided to get involved. So Will35:41Tracy had written this great script. Um,35:44it was initiated by Ari Aster and Lars35:46Kudson that you know knew of the35:49original film which I didn't know and I35:52hadn't seen and neither had Will. The35:54great thing was that Will watched the35:57film once and then he wrote the script36:01just you know by using the premise and36:04not like going back and trying to make a36:07a faithful remake of that film. I think36:10he saw the the possibilities and the36:14interest of making something very36:18contemporary that belonged in America.36:22>> Thanks, Tony. Feel free to leave early.36:25I mean, unless you're busy or you have36:28things to do, but feel free if you can.36:30Up to you. I mean from its genesis it36:33was like a contemporary film. Choosing36:36to build this house that it takes place36:40was an important decision instead of36:42like trying and combine different36:44locations that would be appropriate for36:46the house and then another for the36:47basement and building that house in a36:51realistic manner was that kind of36:54blending of the worlds. So, we built an36:57actual house with the basement there,36:59but it was built, so it wasn't real, but37:02it was at the same time. And there was37:05so so much detail that went into it. And37:08especially uh James Price and his team37:12included so many details in the house,37:16in the backgrounds, things that you37:18never see in the film. you could you37:21would walk into the house, open every37:23drawer, every pot or whatever, and there37:26was something in there that made sense37:29with the world of the film. And that was37:32so helpful for the actors, like to just37:35go there and feel like it's real.37:40>> Incredible.37:41>> What is37:43she D2?37:46The best I've seen.37:48How can you tell she's an alien?37:51>> Well, the signs are obvious.37:55>> They did a hell of a job on it, but the37:56tells are there. Narrow feet,38:00then cuticles,38:02slight overbite.38:06>> It was quite important that we decided38:07to shoot it on Vista Vision when we38:09finally found a camera that was slightly38:13quieter than the one we had used before.38:16you know, using a large a larger format38:19while filming these, you know, three38:22people in an very tight environment, you38:26know, created this conflict between38:29something iconic and larger than life,38:32which is a face, a human face, but38:35within, you know, like a up38:38basement. Um so I think that again38:41created this sense of avoiding making38:46the film too literal because it requires38:50of you a lot of faith in it while38:54watching it and it requires of you to38:59make judgments and decisions about what39:02you believe what you don't. So creating39:05it visually, a re a realistic39:09contemporary film, but with all these39:12heightened details, I think allows for39:16the viewer to believe in those things.39:20>> You're going to say that I'm in some39:22kind of internet induced autohypnotic39:25feedback loop and and gatekeepers and39:28and norms and all that weak hegemonic39:30horse. But that is precisely the limp39:33rhetoric that you've been instructed to39:35counter the human insurgency with.39:37That's the hypernormalized dialectic by39:40which you've convinced 7 and a half39:41billion people that they're not your39:43captives. To keep us believing in these39:47false institutional39:50shyeliths,39:52>> you mean shibiliths.39:54>> That's what I said. The fact that people39:56are willing to question, which brings40:00us, you know, to the beginning, question40:03what the truth is and what reality is,40:08find proof, question the facts that40:11they're being given and, you know, try40:14and find their own truth. And I find40:17fascinating that now that I'm kind of in40:21it as well that the more technology40:25advances and science the more blurred it40:29becomes40:31because science has reached a point like40:34physics and neuroscience. they have40:37reached a point that they understand40:39more but you know the more they40:42understand the more complicated it40:45becomes and the more you need to believe40:47in something that's not proven if it40:50makes sense. So there's all these40:52theories for example that you know we40:55live in um in a simulation for example40:59which again fascinates me and I'm like41:03why not it makes sense what they're41:05saying you know and it's scientists that41:07say that so it's it's fascinating that41:10you know it's a scientist is asking you41:12to believe almost the way that you41:15believe in God or whatever god anyone41:18believes and it becomes like a similar41:21similar thing like we used to kind of41:25try and disprove the belief in God with41:29science and now science is kind of41:32asking of people the same thing to make41:35that leap and believing that there's41:38something that we can't prove and we41:40can't understand but we have a hunch41:42that that's what's going on and it kind41:44of feels the same and I I find that41:46fascinating41:49talking about all these films it feels41:51like a more cohesive journey instead of41:54like the way you experience it in life41:56which is like I'm going from this to41:57this and this over [music] overlapped41:59and you know complaining about it and42:01not you know not being happy with it all42:05and you know trying to you know go42:08through everything I guess I realized42:10that there is some kind of consistency42:13in a journey and you know and I'm not42:18alone in this journey and there's like42:20all these people that are jumping on the42:22boat and you know [music] trying to42:24achieve you know similar goals and I42:28might be willing to make another film42:31[music] which I was doubting for42:33[laughter] for a little bit.
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