Meet the 2020 DGA Nominees for Theatrical Feature Film

[Applause] no I was thinking earlier that Marty good to see you hello everybody Sam yes there you are grunting and yes yes sir I'm glad you see them and we see you yes art this Thomas Merton at the Ala at the other theologist once said that art enables us to find ourselves and to lose ourselves at the same time and the work that you've done has allowed us in fact to do that in very unique ways you know I was looking for what's what's common in these movies is there anything that's sort of similar well four of your movies are are period pieces that's simul actually in five years of your movies you actually have children of course you're just a baby but they're still working with that baby I suspect was a challenge in itself all of your movies deal with violence there's just no question and you also reflect something that Teddy Roosevelt said which is that if anything is worth doing it takes effort it takes pain and it takes difficulty and you all have been able to in fact realize through pain effort and difficulty some remarkable movies so thank you all let me introduce each one of you Sam Mendes for 1917 Aiko ITT for Jo Jo rabbit [Applause] Tarantino once upon a time in director bong joon-ho for parasite house it said in Korea key thing to this is transmitter Sharon Choi Thank You Sharon for B Barney you know sometimes we're gonna look at the monitor over here to our right and sometimes over there where you might be able to see us but Marty says he for the Irishman and since we've got a monitor here I think it's so since we're all directors here I think a good question might start with in fact how do you deal with the monitors and video village and we'll talk about that in 1917 since what did you do with the monitors and where were they and where were you I've never never been more dependent on my monitor than on this movie because because we were working such long takes we were doing eight minutes you know in seven minutes at a time most of the time I couldn't see the actors at all in person and I normally hate that and I'd much prefer sitting next to the camera or at least being alongside it I'm always a bit suspicious of monitor screens but here I needed to be I was sort of tied to it and it was also huge because we showed you digital I was able to have a very high quality monitor and because I was trying to judge so many different things about the tape and and judge whether it was the tape that was going to be in the final movie and that's something that normally you don't have to do until you in the cutting room and if there's one thing I missed on this movie I missed the direct contact with the actors while we were shooting and I also missed having that nice time eight weeks ten weeks where you're in the room and you've got a nice cup of coffee and you can chat about the movie and work out what it is I didn't have any of that I had to make those decisions there's editorial decisions that would normally be editorial as we were shooting so this is of all the movies I've made I was I was completely tethered to my monitor screen were you alone with the monitor or detailed alone terms was there a video I'm sort of me on the rock face no I was I was I had my nice script supervisor next to me and I did have a cup of coffee on set but you know I was in a it's bit you want to be specific this is obviously the occasion to be specific I was in a horse box right one of those things you carry horses in because we were shooting on the on the land and we had to wield they had to wheel me around in this you know this sort of so it was a wheel it was a video village on wheels and in the next horse box was my video assist person and the next horse box along which is in fact the kebab van we put kebab a sign on the side of it was Roger Deakins I don't know why we called a kebab and it just looked like a kebab man and it seemed like a funny idea at the time and then next to him was his his focus puller Andy and so really the kind of cool group making the film were kind of over the hill where you couldn't see us because most of the time we're shooting 360 and so if I had to talk to the answer I had to walk over the hill to see him and and there were several times when I called cut and they couldn't hear me so they just kept acting you know off down the hill acting away and I thought oh let's let him finish the scene you know yeah they were innocent you know thinking that what they were doing was possibly in the movie when there'd been some error what have you but also I couldn't talk to the camera operator I couldn't talk to the the sound operator it was quite strange in that regard but because we'd rehearse for so long I felt that we we knew exactly what we were looking for but still it just felt like the weight every day I mean normally on set I would play a bit of music I would be a bit more you know there would be a bit more give and take but more chat with the actors but there was this wait every day which was we have to make the decision about this scene now not later now we have to do now so and that meant that there was a kind of peace that descended into my horse box it was quiet there was no music it was very little chat and it was a very unusual situation because also we had that thing that normally and I'm sure everyone here is used to this you know you've got a close-up the hair and makeup are going to be interested and if you've got a big shot of something blowing up there's a fair chance to special effects are going to be involved with the hair and makeup not some and on this movie every department was engaged in every second of every shot so there was this feeling that that all you know 120 of us or however many were there on set on a daily basis were completely glued to the monitor screen in a way that probably is not entirely healthy but that's how we had to judge the movie and the others that you just have talked about we're looking at a monitor somewhere else like hair and makeup and special effects not in your room no no one's eye my rule and it's been this way on all the movies I find it really difficult to have anyone looking over my shoulder at all III can only work with a script supervisor I hate that feeling if someone else is in my I don't want these guys feel if someone else is in my space my first thought is what do they think about it and not what do I think about it and I had to work out more than ever on this movie did was I happy with it was I pleased with what we were getting so I I never allow anyone near the monitor screen more than happy at the end of a tape to get notes or thoughts or anything from anyone but while we're shooting I didn't want anyone there so here it was quite a lonely place to be thank you thank you most the time I don't use them I used to next to the camera and just be with the often changing the script a lot and just yelling words at them and I need to be very close to them I can't be off in another room screaming it out but yes I'll just yeah I'll be like just sort of engaging them with them quite a lot this is very different if I'm in the scene and I'm not looking at anything at all except for the actor and but then if I and then sometimes I've become lazier it's I've discovered sofas and so now sometimes I like to get a couch and I like to relax if I'm going to look at the milk monitor no it's about that and look at it because I want to see it how most people get to see it with a remote control cup of tea so food and the way Cavanaugh says was that good when you were dealing with your own when you were dealing with your own performance in order to quote to check what you did would you go to the monitor would you do playback and how would you use it if you did no I wouldn't look at my own stuff I know my limitations I know what I'm capable of in its yeah it would be a be more disappointing for me to go and watch back what I did I didn't want to do there I would like to like to think that I was doing okay but I've never done that I've always felt I mean I've always get if I'm in a in one of my films I give myself the easier roles and where it doesn't take not too taxing on me so I will yeah I'll go and also like that particular role was it was very strange to drip should be dressed up like that and directing you suddenly become a lot nicer you certainly a lot nicer to your crew you overcompensate you know you come in and say something okay you come through the door yeah we can come down the line maybe cross over there that's not an order that's a suggestion you don't have to do it I'm not telling you what to do do you deal with the video village are there other people by this monitor and how do you handle it sometimes but I usually will just I will go to the village look at the 45 people that have suddenly disobeyed me and I come and look at the monitor and then get frustrated and just go back on the road with the camera I don't understand I don't like the feeling of that because people will get tell us good and I hate that because I don't know if it was good and then maybe it was and so I get confused so yeah so yeah I get confused with this when there's too many people God doesn't have a young horse truck so there's my next monitor on your set and there are so many sort of moving pieces and moving shots why where are you with it and how did you use it we didn't have them we didn't we didn't have a monitor we don't we don't have a video village or anything like that we get those little hand ones that you get there in once in a while if you're like running around doing something and and you know you'll glance at it every once in a while to make sure like the framing hasn't gone completely haywire or something but like I didn't really do any steadicams in this movie but it's like but normally like in a like in a big big deal Steadicam shot I'm running with the state he cam guy I'm running right with him I'll have a little thing there and I I glanced at it every once in a while but it's more about just matching his speed and whatever and then and rather than and I hate playback and so it's like when I get through the one of those shots like I know which you know out of nine shots I know which one is the one without playing back without like watching it during the take to see if the left or the right of the frame does this or then that you just kind you just feel it yeah you you and the you and the do your your your connected that way so in this movie so we had the little hand ones every once in a while when you absolutely positively meet you but no there is no video village there's a chair town there's a place where we put all the chairs where people get to like drink coffee and everything we have chair town but there most of the actors are usually in chair tasks the projectors are in chair town alright but no video village bunk for you terms of video village or in terms of monitors what how do you use them if you use them actually that this I don't know why this is strange in Korean industry we have one set editor in the pre-production so PT oval is a is relatively people then monitor cool paper videos spop Sancho Panza panicky that I says the castle your pension plan huh so next to the monitor we have an answer editor who's constantly editing the footage as we're shooting begins there is no don't kill you could pass over on the onion I think it's because Koreans are very impatient [Music] okay take it one metre 30 cells an externship constrain it to the parameter to the core tenets of judgmentalism castle collar is accepted in Chicago work agonal Abajo they will do tag in there and get on polio with an author then to find out what providing the mechtogan body which put a picture right sometimes it is helpful especially with action sequence but it can be very frustrating because crew members constantly want to check the footage the actors want to check the tone of their performances so sometimes I just want to crush that laptop with Final Cut Pro they're so - man you eternal hell from banjo go to data geek schedule take a tune system in kohaku the cookie could change on tangible post-production caddy engage another what's the production as a million woman dollar pertinent general basis at a sister clinic boom Yan Yun Zhong is a humble man annum so overall I depend on it why I've gotten used to that system and I think it's great but it doesn't really connect to the final post-production process or the editing when we're actually trying to edit the film we start from square one and Anza editing is just for reference as we're shooting there's a material sister Jagger's only him Dylan a music add more little on opposite it took a video political yogi peed and acted I smell or TPP okay so got your own pony piranha porno cool people are your present cap over the sixth element act in Maplewood and Unni mattresses in kadokawa supplies so sometimes the video assist assistant suffers a little bit because we have to set up another monitor there will be the video village and then the cinematographer and next to the cinematographer I would install a new monitor so that I can look at the monitor just raise my eyes and look at the actors so when you position yourself do you argue go back and forth between monitor and actors where are you sit down maokai hello hell I try to be close to the actors as possible thank you thank you Marty I'm looking at you here I'm looking at you they're maybe gonna see each other so monitors with you on this particular picture how did you handle it and what do you do with video village if you have it well there is a video village I also as many if you've just most of you just said I don't like too many people in it my script person with me and one or two people come by and start maybe I I enjoy getting distracted sometimes and having conversations but I don't like everybody looking at what we're doing and in this case because of the amazing amount of computer-generated images and the three lenses on each and two or three cameras shooting at one time so they got nine lenses I did tend to stay near the monitors quite honestly as much as possible however there were and I don't like that I don't like it when you say well that's a hair-and-makeup people over there and they have a monitor there's enough going on the set I walk around sometimes a knife there was a lot of people on this crew because of the CGI because of the three lenses on each camera there were nine cameras mostly we didn't use all of them all the time but there was a lot of crew and I walked by sometimes and I see those people are looking at my film why they see going on here we're improvising something and this is going on who what and hey David read my ad but tell me Marty that's the hair and makeup girl oh yeah of course surprise one day it turns out I'm just Barda was on the set watching I didn't know you know so she I love her so we were talking afterwards but I if I had wanted her to see a scene I was doing I would have liked to have known which scene she was she was a you know she was gonna be party to in a sense so but it was very funny but the I try to control that as much as possible the thing on this picture the dialogue scenes usually stood right by the camera or the cameras or the lenses whatever they were and I was like an eavesdropper innocence I was hanging out with them in a way whether it was Catherine ado cheer and Joe Pesci or De Niro and Al Pacino particularly in the scene be towards the end of the film where he tells out that it is what it is that was a transcendent moment just standing near them and watching right in front of me and also the crew felt that they come over to me and said to be on the set with something like that happen between these two acting Giants you know nobody I don't know but are there people who who see it there are they not that impressed fine I'm just saying that I felt some and gene them I had the video below me but I was right was that their feet and so for me because of the CGI and because of makeup and stuff like that I had to combine both but I preferred very often or in these hotel scenes where they're sitting and arguing or they're watching the Cuban Missile Crisis I'm on the set with them as much as possible you know as much as possible if you'd find though that in the big appreciation night sequence I was able to have two or three cameras going and I'd say okay punch over there it was almost like shooting a the Rolling Stones in shine a light you know right side pick up that camera go there well I would do things like I just wanted them I just one of the people at the tables a Kaito and Darwin behind Lombard at C and Pesci and all of them to be eating and joined themselves and I didn't give them any necessary and real dialogue it was just a show the the event and how they were participating in it and so I had a camera on Harvey for example and Harvey and I know each other for a very long time so the waitress goes by puts food down in front of him right and he starts to eat the food and I said hey send the waitress back and take the food away the other thing was that times a couple of times it got to be problematic because there is a big scene where Al Pacino is as Jimmy Hoffa making the big speech and there were a couple of hundred guys in this big room and I decided to stay by the video the way I was working was that I just told if you feel something just repeat it just keep repeating until you feel right with it well he repeated and by the time you couldn't hear cut because I'll remember screaming and I I got up you know you had to sometimes at a certain age you have to you have to be careful of how you expend your energy and when I went to the room and I look like I couldn't get through those people I couldn't get through so he must have got on the scene ten time to be flipped somebody got a message thing to stop I should not I should have been in there but if I had been in there then too much smoke and stop coughing you know anyway I found the video very helpful there at that point but I do find that and this is a quick story in Goodfellas I learned about the seduction and the corruption the video monitor - Paul Sorvino it was a scene in Goodfellas towards the end where Ray Liotta goes to him it is luncheonette to ask for help and he's frying sausages Paulie and he looks at him and he says I can't help get it screwed up I can't he gives him some money and I was in the very next room of the video and I was watching and medium close up like this on Paulie Savino I know I see so let's do it again it's a little more maybe emotional with him just to show that you're like it he was like you're like your protege you know yeah okay it doesn't get and I went him again I said I think a little more if you can and he said Marty can make a suggestion can you stand here and look at me and I did and he was fine the tears were there and that's when I realized don't get lazy don't get lazy you know often though it's kind of enjoyable because you can actually see the film start to come together you know but it's a dangerous thing those tents because it cuts you off from the action it cuts you off from the people and the crew granted I don't like to be on a set that there's too much noise going on with banging and crashing is I can't take so I tend to pull away at that time but it's a great tool and like Quentin says to actually go with the Steadicam that go-go rocking with him or her you know you know what's there you know but I I find it a great help but also a great temptation when sinful well-spoken well-spoken I want to talk about and endings you know openings and endings of a movie or any story become to some degree some of the most important things that all of us have to deal with you know is it's been said if the end is good all is good I think I was talking about our own lives actually but just talking about movies specifically so I'd like to talk to you all about how you evolved as directors in this case it may be as writer directors the ending Sam specifically this moment when he goes through all of the wounded soldiers and then finds the brother and then goes to that tree that lone tree and I'm really interested that particularly even that last moment about going to that tree how did that evolve what were some of the directorial decisions that came to get it to that place well I actually when I wrote the scope co-wrote it with Christie it was a different ending it was a slightly different ending he was he was sitting on a on the bank of stream as it happens and it was when we went we were location scouting in in the West Country and in England and we saw that tree me and Roger just me Roger Deakins and we both looked at each other and it just seemed like it seems so obvious suddenly that he should the movie should start with him leaning against the tree with his eyes closed and end with him in exactly the same position in yet everything has changed so it just seemed like such an obvious idea even I did I you know many of the good days on set with Roger you say almost nothing because you're so in tune and we made only four or five movies together you're so in tune that you don't really need to talk very much and that was one of those nice moments and I went and stood underneath the tree on my own and it just it sounds ridiculous but it felt magic and so for me that kind of was an example of the landscape of the movie talking back but you know I think it also you have to go back a lot the reason I wrote this movie in the first place was because the experience I've had on the two Bond movies of being in the room with the writers from with a blank page gave me the courage to do it myself but you talk about endings and how you know the endings right then everything's right well I had the experience on the second Bond movie of not having an ending when I started shooting and and I found it really not a good experience because for me one of the things I enjoyed about Skyfall was that I knew the ending was M dies a new M arrives bond is back you know we reintroduced Q we reintroduced Moneypenny I had it all kind of had every scene in the movie was moving to that point and you know you use so aware when you don't have that you don't know what you know the ending is that that it's everything because you you're kind of directionless in a way if you're not pointing in the right direction from the start so it's very important to me on this one this was a reaction against that in many ways you know even though it was technically complex it wasn't nearly as complicated as working on several continents with several units and all of the things that go along with the Bond movie you know the choice in a way you could read the choice to just be in one single continuous shot or the appearance of that to be a reaction against mutton multi-camera shoots multiple units and all of those things so even though it was complicated it seems so simple in its shape and form compared to doing a thundering great franchise film so yeah I mean I felt like and you know what you know I think of the movies that the other guys have done you know that are here today and I and I think that endings are all just unbelievably memorable I mean the last shot at Paris like the last shot of we're about of the Irishman I know but you think about it you just think of course that's the only way it could end that that's where it's heading the whole time that's where it's going it would seem crazy you know make sense of everything that falls they look the last shot of Quentin's movie obviously you don't the whole thing just seems right and I think without that sense of where you're going I do think it's it's really really difficult and I have experienced it in its opposite form in evolving that sequence to get to that tree I don't know if it's I know there's lots of blended shots I don't know if it's the same shot that walks through all of those where we actually see the result of war yeah and we see all these bodies twisted and torn to pieces by the horror of war and what's that all part of that getting to that tree or well it's actually two shots the the shot that begins in the trench goes up through the field hospital and ends with Schofield turning to see Blake's brother played by Richard Madden and the next shot takes him to the end so it's two shots but the the reality of that is I shot that whole sequence in hospital and then I knew something was wrong with it we spent a whole day shooting it I shot it I couldn't sleep I woke up I called Lee and Smith the editor who was despite the fact there are no obvious cuts in this movie a pivotal figure in the putting together of the film and I said what's wrong with it and he said I felt detached when I watched it I said okay that's fine that's what you need to say I felt like I what I'd done was I backed off the horror I thought I wonder if it after all this an audience can literally take anymore and and I just thought listen I've written it I have to go right down the middle of it so I I got up I went to the set on my own we were shooting you know we were only cool at lunchtime because we needed to shoot at the end of the day I walked out there was just two security guards who thought I was a weirdo who come to visit the set and and I I remarked the positions of the tents I drew a diagram and Michael Lerman my first Eddie who's here today I called about my said you've got to come in early and I restage the whole scene we restate the background I got Christy that micro writer to write dialogue I said you write me twenty snippets of dialogue that could be being said by the nurses and doctors in a field hospital I gave them to my class find me that you you go and create 20 different scenarios with these these bits of dialogue I want them to do them full-out I may not use them but I want them to fill out I want people screaming crying asking for their mother whatever it is that you think is going to work and I'm gonna work with Roger on where the camera goes we decided that we were going to detach the camera from scoffer at one point I'm just gonna float across the dead bodies lying on and we we staged the whole thing in in that morning and and it was way better but it all came from the fact that I was backing off my own initial gut instinct that what we needed was to confront an audience with the reality of what had just happened and I thought I I just have to do it if it's too much for the audience then it's too much for the audience but I I'm gonna just have to do what I said I was going to do and that's a good example of everyone working in tandem on that one day you know and we shooting a scene returning around very quickly but also the speed at which I had to listen to that inner voice that said that that's not quite right now if I'd been shooting it in a conventional way I probably would have gone with it and thought I'll solve it in the editing room and it wouldn't have been as good but because I had to decide if it was right or literally right or wrong or if it was what I wanted or not what I wanted I had to confront it on the day and that's where Lee was so pivotal for me he gave me immediate feedback of someone who wasn't on set had no interest in there's a great David Mamet line and if you know about editing he says in the cutting room the director is serving two masters the movie and himself it's the editors job to just serve the movie and Lee is a master of that he doesn't want to know what my favorite take is he doesn't want to know what I thought on the day he just wants to watch it and he'll be the person because you know you do 28 takes let's say or whatever you're generally going to go you there's a reason you've kept going you're probably going to go with a movie like this - 26 27 or 28 and he called Lee and Lee would go you know what look at take 9 I know he made a mistake we can solve that I think take 9 is the most interesting and my your first instinct it's very interesting human responses ah for sake don't tell me it was take 9 because I wasted the rest of the day okay and I go and watch it in a really bad mood I'm like it he's right but you know you don't have and to be confronted by that part of yourself straight away rather than months later in the cutting room was really unusual and quite destabilizing on a day to day basis like you know so because I would have to say we're matching to take nine because we had to we had to know what what the a side of the stitch was so yeah it was a it was a nutrition about that it's a performance question and it has to do with did you say anything to George when he sits that tree and takes out those photographs what was the conversation what was the rehearsal that you might have done beforehand to get him to express what you wanted at the very moment of the end of this bla you know what it's like when you gotta when you're doing movie you say everything to them and nothing you know I said I probably said lots to him over the preceding weeks but on the day nothing well because if it's by the way that was the first take that's the only time in the movie that scene with Richard Madden right to the end is the first take and sometimes you don't need to say you have to you learn I think early on and this is also coming from the theater I learned this just let them give that if you trust them let them do it and then wait and see and sometimes you have to say anything you know these people are pretty good at what they do and by that time we'd shot the whole thing in sequence he he brought everything that he had lived through for the previous nine months to that last shot and that was that was certainly there I had nothing to do with that and yet it was it was you know months of work but I didn't say anything to him on the day no tiger thank you very much tiger the end of your movie the dancing Santas the choice the choice of actually what would be there in fact your very last shot but that very end as they go out the door and and this dance can you talk about how it evolved through us director talking to the writer yourself well or yeah well that was that was there from the very first draft that the idea usually when I'm writing a usual start with the end then I'll try and come up with a cool beginning and then trying to fill up the middle but it's usually all right there'll be peace of my I'd like to see this in the film when I see this like see this I reject this from another script I'll put that in there made them German and you know and then just to the figure that it's not often that I have like a very clear idea it's usually it's worth finding it as I write but I usually will know how I want it to it and that was yeah I was very clear right from the beginning I wrote it in 2011 even there and you I wanted them to be on the street dancing and I wrote heroes unto that moment right as long as well yep and so yeah so that there was I guess a point that I knew I mean it was one of the few things I knew about the film like yes in in shooting that if you remember the talking to both of them and actually the staging and its evolution because it evolves I mean it starts subtle and then they begin to do it I'm wondering if you remember what might have been said to your actors that to get to these well the I mean so Roman is when I when I cast kids usually they've never acted before and I'm always looking for auditioning I'm looking for the kid who resembles the character that I've written the most so that they don't have to act so then minutes so the biggest job is actually finding the kid and and it's and it's a long process well think we audition maybe a thousand kids and he came in about four weeks before we started shooting so we were desperate and but he okay he just sort of swooped in it's just happened on every movie on my second film boy we found that cuz he's incredible it and there was three days before we start shooting we swapped him out we've just made a decision which was heartbreaking and brutal but also it was necessary and what I saw in Roman who is a very beautiful young man sensitive and cares deeply about people was the person that I wanted at the end of the film so if I knew that I could find that kid then all that to do is sort of like put this facade over the top of them it's a doctrine island kid he was obsessed with with fascism and sort of start the film with that and then strip it away as we get towards the end of the film and with Thomas and cheese she's very accomplished actor you know he was very smart got it with her I didn't give her any sort of real background she I knew she was gonna do the necessary research the only other bit of research I told it I suggested was to watch Heather's is I thought that in my mind I like the idea that this girl had a life before this period and that she was probably a cool kid at school and then some you know to give you some background but yeah but it was always just working towards their end point what was the music that you played for them when they actually shot this moment heroes did you actually play the music on set yeah we don't have the rights to a bird this is what felt like this is the closest I get to it and then and and it felt like it would be I'd find something rhythmically the same tempo if it didn't work out but yeah it just felt very special to me that song in that moment and it'll set with me for seven years and I thought you know I won't back out the moves that both the kids do particularly Romans will with his neck and all are neither I'm gonna dance neither of them can dance the terrible but I would so they only charged stand behind the camera and I would dance for them and then now that says like they would give them an island was just very very like tights of the lens and and there was a periphery I guess I would be doing these moves and they would copy me as best as possible so I wouldn't like to put them off of each other Oh No thank you quite you have two endings yeah you have that phenomenal salut will crane shot that is there is part of the story of connecting those houses but you also have a black and white advertisement for a fabulous red apple cigarette yeah yeah so I'm interested in that evolution for you as a director and how you did both of those scenes well the thing about it was it was interesting I think in the last since the two thousands I didn't do this from the 90s but since the 2000s I don't shoot my movie is necessarily in order not in this religious way but you know we try to do most of the stuff that's in the first part of the movie in the first part of the shoot and most of the stuff that's in the second part of the movie in the second but maybe not that crane shot that we did that ends the movie but uh but the whole climax per se you know when the killers come into the house and everything I always try to leave the ending for the last thing that we shoot basically because I don't I don't really write these blueprints I don't run the blueprint for a movie and then we go and do the blueprint I write this cockamamie novel that there's no way all this is going to be in I put scenes in the script that I know will never make the movie alright but I like them and then the actors like them and and well hell I have the money why don't I actually just shoot it alrighty you never know yeah if I'm lucky enough to have the time and whatever then go all the way put this material on film but I know that can never I mean with the Irishman like it'd be okay alright but I had a limit [Music] [Laughter] so the thing is so I'm literally kind of stuck kind of adapting my novel like I'm doing a novel I'm adapting my novel every day on the set now I'm shooting it but I'm but I'm seeing what we're shooting and I'm seeing how it's working and I'm seeing what's becoming important I'm seeing what was becoming less important and the reason I'm doing all that like I'll have this phone even this won't really make it but hey this is actually I never would have guessed that this would make it but this is really powerful this is really strong and then maybe that character who wasn't so important to me in the script is like risen and has become more important and during the course of the shooting or just because of the fabric the way you're put in the fabric together you're learning what you're moving truly is and so consequently by the time we get to the end after I've shot the whole rest of the movie I have a pretty good idea what I'm gonna do and so now I kind of know what the movie needs and maybe I think and I I'm sure I always think that the movie needs more at the ending when I'm writing it but at a certain point I kind of I know how much movie I have I know how much movie there is how much movie the audience has watched up at this point so I know do we need to bear down and get really into it or no just wrap it up man you know or or any version in between and so in the case of this I think I had a much more elaborate version of the big action sequence that happens in the that it's in the house I mean even to the degree that I think Brad and Austin had played text Tex Watson can't even like had Cory there was even a choreographed fight that they did in everything and then all of a sudden I show up on the set and I'm like we don't need any attacked and it was it wasn't problem I best day as a director for the simple fact that I didn't walk Brad through the fact that I've changed my mind I just changed my mind and dared him to disagree with it which as like time was on a went on I was like I should have like walked him through this a little bit more alright rather than just I can no no we're doing it this way and the whole crew was like a little bit surprised and I and rather and all of a sudden it just became you know this is a sequence I want to do later in the editing room and so it just became about little pieces and it was just us hopping around you know and there's also that kind of like we've been shooting for a long time so now you also have this energy but you want to get it done now you're like you're me and but that's a good kind of energy that's an that's an that's a that's a really exciting kind of energy when you finally harness it and and you know so rather than things being more elaborate it was much more shot chacha-chacha-chacha-chow and people like oh I guess this is how he's gonna do it now okay fine but very the crew is actually used to being able to watch it more watch it more unfold than they have it and they have a good sense of it here it was just they were they were they were forced to cut it in their own mind by seeing how I was doing it in a little bit in terms of the very last part of it which is standing outside Sharon Tate's house and that crane shot and then the fact that then the fact that titles start and then you have this ad mm-hmm talk about how that evolved and the style and also directing both of those both of those pieces that very that sort of last well that lesson was that last little shot that's been in my mind been working on this for I don't know six or seven years off and on and I think about five years ago I came up with that ending shot and it's it's haunted me that shot has just been haunting me for five or six years and you're speaking of the crane show yeah I'm talk about the cranks out what you see Sharon comes out and everything we go from them the gates and everything and and it's wonderful and horrible when the shot haunts you when it gets in it when it gets into you like you like you can't function you can't live until you get into you put it on film and get it out of your system but then God feels like the greatest thing in the world actually feel that kind of connection to your work and I didn't know if we were ever going to be able to do it I mean we had to find the two houses I didn't even write it in a way that like makes a lot of physiological physiological sense that the houses would be able to do all the things I wanted them to be able to do but then we found it and actually was my first ad who's out here who found it with Bob Richardson it was one of those things where they kept finding houses and well they weren't exactly quite right but you could do this instead or you could do that instead and I was starting to get warned out like maybe I was gonna have to make a choice like that and they go calm this is not what Quinton wants and so they just went up in the Hollywood Hills with Google Maps and they found that and they found the two houses and luckily everything that it all worked out but to go back to what I was saying before we shot all that stuff in the two houses that are at the end of the block we shot that fairly early in the sheet I mean maybe like you know week seven or eight or something like that and so consequently the shot that's like driving me crazy the shot that that's the end of my movie I shoot that shot that crane shot from it from the gate to the overheads of the house like within like week six or seven and it was it kind of me up emotionally a little bit to actually shoot this ending moment for the movie that soon into the shoot I mean they understood everything but emotionally it was like well how can there be even more movie to do now that I've shot this shot now that I I've seen the end written it's like how can there be even more more out there and but there was the the the the ad that was just we had a we had like two days we had two days to do all the bounty law stuff and we were on westerns that we're doing all the bad enlasa and literally that one of the days was the hottest day in Los Angeles that year and that's like the day that we are trying to do like 37 setup so I to duplicate this entire series and poorly oh man he was running bait he was there for every every 37 setup sorry he was running back and forth his sweating his balls off but that was just a but that was easy that was just one of the things that would that was one of the many things that we did we did the little red apple commercial and you know look if it was up to me all that media that Rick Dalton does the movie would just be filled with that and we'd get around to a story every once in a while I could just just keep showing like every episode of TV show he did every bill the mood I want to see half of 1450 McCluskey I would have shot all that stuff so we would shoot all this time I go how can I put this in how can I get the FBI like all the way and all right not just a little cut to it quickly on the TV how can I get the red apple commercial in and then I go commercial the closing credits great bong in a way you have two endings as well in your piece and they don't let him get the tattoo taken gu Mrs America Boone mo Maloney Nakuru cannot own a Cricut and tsunami so to take a video and also return characters action and the global respondent a Giovanni on zombocom cotton Rambaldi etiquette has a take a deep well but it's great because I was so curious at the end the film ends with a camera on top of the rooftop and I thought as a director that was a very simple but great decision to make and so I always wanted to ask him and to hear that he's been dreaming of that ending for the past five years it's been very insightful were you dreaming urines tonin in the toy ending ano my opening I'll go take a cameo in this as well opening a single comments or anything do jacket together take a then why it's home got good to take a Kentuckian girl day in that day so my ending is very powerfully tied to the opening shot of the film so the ending and the opening came to me together yo ma tante berthe's we talked about the chorus October which our can enjoy case Victor would appear vehemently ho chun-yan to be a complete Pangaea is a camera back rain down much much that the pockets of ambiguities so the film the entire film is aligned very vertically according to class the rich on top and the poor on bottom and the opening shot of the film you have the camera in the semi basement home craning down towards American Tanana Susan and be in pain or you and Helen are getting give me reserve who chanted is inversion at the chemical grab urgent a Morse code - no can't you the cinnamon bear could super protective a tiger support you get double I was in Academy no longer than that one and pay because the sheet shake will go she hundred our job so dodging SL so guess I was regarded day I shouldn't need a cost vacuum inin the auto-tune pitch on the tune colpa Mia donating a bomb a at the tree honey camera landed on automating Tonya and so it's a cruel but I'm not ending because he's writing a letter to his father and Morse code announcing that he will purchase that house and all he has to do is come up the stairs and you actually see that scene on screen you know under broad daylight they they meet together and they share a hug and then it cuts right to the boy and that dark dark small room in a winter night and it cranes down on his face Roberto Baggio cotton hola eligible much in danger at the riccati on which the good tenants out you can emotionalism that they who said to enjoy a cook who feel to agree to purchase today between the amil chhaya Manhattan da da da da da no capital case an S or C Pecos area panettone SS who she can tell italia kodi neeya a pity she thi own one at masada urban educator my that you got that job so when the father finally comes up the stairs the rich house and they share a hug on set I got emotional as well we built that house on an open field outside and we calculated the direction of the windows and the house so that it can have as much broad daylight as possible and there was a certain period of time when sunlight would sort of pour into the garden and so it was actually all natural lighting in the morning aku jongmin tico-tico give you positivity that Higginbottom a newtonian and a shakuni's a good habit I'll never betray the productive capricious oh that was printed in there so that was actually the last thing that we shot at that rich house and the next day we just started demolishing the set and I felt very strange because I wanted to live there so to some of us for you that choice of the angle that you do when the father and son embrace you're married we are very far away far distant what made you choose that rather than let's say go and for a closer shot what happened and you said you were moved so I'm interested in why you chose that that's the exactly same question I wanted to ask to canteen why the your camera neighbor Kevin well you answer first and they will find out Kuya handle choking as a joke in comes a song in to motivate a man a Jon Hamm Julia Norton boo-boo no you don't boil it over which panchromatic boldly saw him cupcake air Ariana get some tour ambassador we determine gene had ever had and I go to nineveh so I think it's our you can say it's sort of a Korean or Asian sensibility where when the emotions are the most intense and you have that burning emotion happening between the characters you almost want to stay far away so that the scene is faint and that way you feel that an emotion more intensely when you can see it all all happening so you feel you feel if here if you had shot a closer moment between those two of them it would not have had the emotional effect you want it that visual made the difference yeah coach Alberto Canary okay your honor fit the clothes over its ego new pensive as a paper you know man again it's home story Baudelaire don't take a beyond what kisser you go to him as a cigar knob scholar time so it wasn't as if we had close-ups of the characters and then decided to take it out during the editing process from the very initial storyboarding stage I knew that I wanted a white child but he Scorsese mr. Scorsese unwise Autobot immigrant to Moodle to Nero meet opponent there is an uncommitted on our on chroma Theotokos fund and even what the Irish man you know you see too near through the door cracks and that gave me a very strange emotional response so I wanted to ask warranty about about to I'm so glad we're on the same page about this although I do want people go to act equipment why the why not a closer but but I'm going to ask Marty for this question Marty in the last their last shots in the movie one of them is is quite remarkable because it takes that nurse I guess out into the hallway and then comes back and there's a change of light there's a change of time and we discover him change of an outfit I don't know if it's the same shot or how you get it but then you have those lasts if you will two shots and then one of them is this low angle looking at him and then the other is the wide one at the end can you talk about how that evolved for you yes I'll try I think said to say immediately that that was the original ending that we knew was going that way from reading the book from my discussions with DeNiro and certainly would Steve Zaillian and I said let's aim for that at one point agency but she'd he shot the door no because he's still waiting for some kind of salvation of some kind some kind of forgiveness some kind of some kind of somebody to say the soul or something to save his soul so to speak so he leaves that open could be the daughters it could be whatever in any event then the problem was shooting it because that we did shoot towards the end of the picture and the scenes with that young priest father Mars were except for the last few lines of the dialogue a film particularly in the chapel when they in confession were from a real confession they were not scripted bobs lines were scripted but the priests were not and in any event that gave us the feeling I shot that first so before shooting the scene in the room and that gave me more confidence and us to how to how to express this this idea of this old man in this room I knew for one thing that the movie in my mind came together fairly quickly and reading reading the book and a piece of music came to my mind immediately and that was in the still of the night by the five satins and that is the pace of the film that's the rhythm that's the emotional emotional impact of the picture comes from that not nostalgia for an old fifty song I don't care about it it's about it's about still of the night going back to listening to sermons or in the 50s coming from a Roman Catholic background where the priests would always talk about our people but always talk about the veil of Tears and the death coming like a thief in the night and you least expect it so then the still of the night is love and also exiting so this was the movie I knew it had to start that way and I knew people would say well that reminds me the shot in the culprit - that has nothing to do it I just had to find this guy sitting there you know and let's just go through this this retired living likes with the camera however the ending the problem was once the priest got up and left and he says as a Christmas Bob says as a Christmas and the priest says he almost and it cuts back to Bob small in the frame and he said you mind leaving the door open a little bit and I thought I'd end it there you know but I felt that and quite like that because it's almost as if you know could you leave the door open a little bit I don't like being here with the door closed and then the camera tracks out that's a corny corny is not a good word to use but it's cliche I've seen it before it's signals the ending of a movie I don't want a signalman at the ending so what the hell to do I know I've got to wind up in the hallway or show through the crack I know that and that's got to be really simple and simple is hard to say can't even think about making it simple just got to do it you got to see it and so I remember it was Easter weekend we were shooting that and I shot it through the doorway that and in the editing we found it was one of the most difficult things to do because of two things one from cutting from the interior of him telling the priest to close the door and small in the frame and you're inside the room to the priest coming out into the hall and leaving the door open and seeing him in the background he just didn't seem to have an emotional impact and so something I hadn't planned on which was that low angled shot of Bob in the middle of those two shots and then it became how long should that be on and where did I get it from because I shot it for another reason which I didn't use and I tried again pulling that shot out of the close-up of Bob between the two white shots and it didn't have the emotional impact and then we found the right beat the amount of time that should be on and then I said okay then we'll refine the bigger problem became meant to start the music because it was obvious in the soul of the night begins the movie it ends the movie again cliche alright so how does it in the movie without being cliche well why don't we start it while he's in the chair and you see through the door tell everybody how about this tracking out and putting the music over it that's even worse no what the hell do we do okay that took such a long time starting inside putting it on the podium starting the music on the shot of him in the hall through the door starting the music and I always felt as an intrusion where the hell is this coming from when I spray in the picture it really annoyed me and finally stumbled upon the idea of cutting to black and then slowly bringing that music back yet you know without it tugging at the heartstrings or or being sentimental or nostalgic you see and and so that was that as far as the visual was concerned that was from the beginning the execution of it was was a arduous not arduous to shoot but arduous in the construction of the picture again this is something because of the strangeness of this production itself you know one has to address the issue of length I would think there's no doubt but we never intended the length to be what it was we just played the film you know and in terms of the company that was making the film for a streaming service or apparently being shown in theaters to you say well you know what if it plays as it plays and some people would see it in sections I have a lot of people telling me some doctors surgeons telling me I watched 15 minutes every night he's a surgeon Joe I have to get up at 5:00 in the morning to go and operate on people I have people tell them to watch it for five or six hours and one day I go back I watch it I know I know that if you see it from beginning to end in a theater let's say or even in a home theater it's a different experience and so we took a chance really and the only way that guided me through this through this mystery of making this film was the projection of the film itself I didn't show it to many people only a few people I had to feel right about it and I figure about this maybe the way I got a say may be your last chance meant just go what you feel in your heart and if it plays for you and if there a couple of people around to say Marty you know this or that and you take that into consideration fine but as a last chance so to speak you say I pour it all away what can I do everything goes on the table and you just you know gamble it all and it might play it might play Jeremy more different venues I don't know this is yeah so it's experimental that way and having said that that knowing that we're gonna end with an old man in a in a in an aged an old-age home with a door open you see this guy in there and this guy who's had a pretty horrific life it's a hell of a chance technical questions there right before that shot there is the shot that takes you into the hallway and then take takes you back was that one shot or how was it evolved well that became a script issue in that we had scenes in the hospital room with the nurse and he had scenes with the priest and then a couple of other things and what happened was ultimately the seam at the priest where he's a Frank is in confession and the priest is talking about the will the will for he's talking about the will to for sorrow and remorse that I want it in the chapel so I had to find a way to get them out of the room go in the chapel then I had a figure way to get them back in the room and by doing that I went back did the scene in the chapel went back to the nurse in the room and I said remember you got to follow the nurse out I said why don't we just then pan the camera and we've seen this a lot in films and in theatre where the lights change and in hospitals in hospitals late at night like - and the more it's always 3:00 in the morning you know and you hear these sounds these sounds shuffling of the feet people and it create there's a mood and an atmosphere that is very very special and so I wanted to create that and we go into the room we find that the priest is there but that was two shots with the changing the light going from one going from the bright light and basically just fading down the the noise in the hallway and a few people and and then bringing up what could be is really the absolution the absolution for this confession you're bringing men up on the soundtrack and you come in and basically it's over but by that point and that little move into that room Frank has aged even more in a sense maybe not physically but what he's aged completely is almost somewhat pretty confused I think at certain points they're not quite sure what question for you and a question for all of you when you get anxious how do you calm yourself when you're all that what do you do what do you do to calm yourself when you get anxious in the process me yeah you first you first know these days it's funny but it's you know getting to a quiet place and some time to meditate just know it's going with it first expressing my anxiety to ever listen back and forth back and finally it's you and you just go in take a few moments and used to be years ago play a lot of music but that has changed somewhat the music is still played in my developing of the film and sometimes on set but in me a trailer and stuff like that and no it's quiet well how about for you when you get anxious what do you do how do you calm yourself go to boil ie sugar [Laughter] Oh Barney's erratically monitor a girl named satin more chocolate made about three months so I always have a bunch of chocolate and candy around the monitor it works alright could you jet travel to Toy Story poet a story about the Kadena goes at Cipriani's a clinical study photo ops into the hittite kingdom come to implement a torrent votans has to tell her the coup de Botton yeah google hana hana could determine a classic granny currently terminal we story whatever territory or not cool a pretty cool member three yes and also i always go back to my storyboard the reason why i draw my own storyboards is because I'm anxious there are so many great directors who don't use storyboards but for me I draw every shot myself and my crew members are also great and following my storyboard so that's my process but I'm a kinetic what I see at the port wing that wasn't basically I take out my anxiety from my heart and study it you did oh there go stop it will happen this way in this experience on this movie was there one or two major things that worried you I mean just this really doesn't worry me about this particular film who owns the sequence of Telamon in the devil I was very worried about the flood sequence we're so get to know us already got to go I didn't they would eat onions and hurry up Chanel people continue to see you it has it taken into bondage we caught on Amanda doesn't because we had to spend a long time in the water shooting that sequence and water is always very difficult to deal with I heard that Spielberg after he shot Jaws he was like I will never shoot water ever again mallamma take a document Marikina seem an optimum aanapisis is a computer - a talk but can anon donator on chatter that water tank really brought us to water tank honey we got chipset dream on Monday we Seneca reset it and engage with a honda at whatever yogi photo is emotion more soon home tonight and Metricon I done wasn't a cogito achievement Roger of course it was as extensive with parasite but we prepared a lot for that sequence and that's why we built the entire poor neighborhood inside a water tank and when we started building houses and these this water tank all the set and put all the employees at that water tank found it very bizarre because usually they shoot people swimming there or ship sequences and we were building houses [Laughter] how about for you Quentin what do you do with your anxiety and worries well yeah the only thing that really so there can be a weird situation that happens versus this scene versus another scene during the course of a shoot but the only scenes that actually really make me anxious are like the big cinematic set pieces I mean if if if we've done our job and I'm happy with the way the scene is written if it's just a scene between two or three actors sitting there talking to each other I'm not anxious about that I figure I've got good actors where I like the scene so it's all gonna be good it's gonna actually it's gonna be way it's supposed to be but the big cinematic set pieces or the action scenes or something like that that's where that's where I get a little nervous because I want it to be great I want it to be as good as anybody's ever done it before and I wanted to go in the annals of great action scenes of all time and for all time and if I and I know whether or not I'll have pulled that off or not and even if I can fool the audience I'll know whether or not now wasn't as good as blah blah blah yeah it's okay it's good you know but it's not one of the best ever and and I'm you know nervous that this is where I discover the limits of my talent and and but I actually think that's kind of what I'm we're trying to do I'm trying to do is is you know your talent has a ceiling and I keep wanting to find where the ceiling is I'm risking hitting my head on the roof and so that's that's the stuff that I'm always nervous about so it's like you know so like in you know so in a movie like this you know the two days leading up to doing the big fight at the end which I'm changing the the spawn rant sequence or the Bruce Lee fight you know those are the scenes everything else was easy alright you know I mean more or less if there's logistical stuff but that's the only one where it's like you know it's it's a Calliope of cinema it all has to work together and I'm not using second-unit where I'm not gonna go back like if whatever decisions we make on those four days or five days that that's it and yes so uh you know so those are my anxieties and like literally the only thing out of it is just get started just get started you show up on the day and you're like nervous and you're like a little irritable and I've been thinking about it all the night before and everything just get it going get your get your shot list going get shot one and get shot to get shot three and now you're in it and now you don't have time to be a have anxiety about it anymore you might have anxiety about trying to pull off a shot inside of there but literally once I want what someone to shot three I'm in it but but starting that climb up the Himalayans can it can be a little tough the entire thing makes me very nervous and anxious and I don't I mean it's a myriad of things so I laugh I have a condition Ivan are seeing one about it I've self diagnosed it but let's take that when I get too stressed out and I'd really hate this about me but I fall asleep a lot I can't I can't stay awake and so I'm barely awake right now it's so intimidating being in this room but I do I feel like I didn't so there's now become like a collection of photographs of me asleep on set one of my films and TV like anything I've done I will sneak off into a corner and just and people find me curled up on a ball asleep like a cat it's drama dire and and and so that's I guess that's how I deal with it but it can be so many things that set me off I've made actors first I mean you've got an idea of what you want to do the thing that really wigs me out is like this six actors grown-up actors are the worst you know they come in and they've got all their ideas about yeah oh I thought my character was molested when like you know I want to put that in here I think my character should do they've seen up in that tree over there and so you spend most of your day convincing them not to be in the tree and somehow kind of getting them back to your original idea that we were trying to do without being an and it's so but the end of this thing and then pounds like tits time is like and then the other thing is trying to get everyone just stay with you and believe in you because like it can be three weeks I've written most of my own things and this film in particular I felt was like a big career ender and I thought I've had a good run I'll give this one a go see how this could work and especially not me being in it and playing that that idiot and that in the film and this is something about just trying to get the crew to follow you with vets you feel very it's it's very hard to keep everyone motivated and say like hey this is my cool idea I really think that's gonna work please believe in this and then it all came where I mean the worst experience I had on it film was I actually had I was seen on the river with scarlet and Roman were having their heart about love and we were shooting it most of it from across the river and and I keep running across to go and like check crew and let make sure the framing things right because we didn't have him from cables to go across the river and there's no radios weren't working and I was his big admission I was dressed as Hitler and I started screaming it across the river at the crew not proud of it I'll take that with me to my grave how embarrassed I was but it was so excited like that was the moment my thought this is never a wit and sleep to learn Sam what do you do when you're getting anxious well I mean my I thought my new you is a high-wire act but at least I wasn't dressed as Hitler right the more I think about it the worse it seems I've done a very good job of hiding my inner Hitler all these years yeah I think I'm a little bit like Marty I I am I find that I have to be quiet now in there mummy's getting older but I think I have two ways of switching off-white well actually three chocolate like long quiet like Marty and watching sport and and I find that if I'd sit in the silence with watch sport for long enough in the evening if there's a little man it pops up onto my shoulder going you the scene today it's not right he will appear at some point in the evening he will people pop up and I he will interrupt my sleep and by the next day I will I will know that I have to do something about it and I've learned that that that little person he makes a fairly regular appearance early on in the shoot he yeah he's annoyingly present I mean one goes way back to my first movie to American Beauty when that first day he was on my shoulder saying that wasn't why and that's Irish shot the first two days of that movie and I I sort of wait for him a little bit so now I know he might turn up so that god I sound completely insane don't I yeah maybe I should be lying on the couch anyway so yeah that's but I do have to get into some negative space and peace and quiet in order to work out what I think I mean that's that's really why I mean we've gotta be fighting against this idea both that you know you sort of know if someone's eventually gonna find out that you don't know what you're doing yeah talk about for all of you in the pre-production process I'd like you to talk about sort of working with your assistant director in terms of taking on all of the problems that are possibly going to be your challenges on this particular one I know you had at least six months in which that was your pre-production there maybe need more be more before that but talk about that process fair in this particular film it was it was really really enjoyable that's the first thing to say because we were trying to solve the same problem all at the same time I mean we didn't have particularly you know it sounds ridiculous like we've had you had the actors rehearsing for six months well we didn't rehearse just with them for six months they were simply part of what we all know is a decent lengthy pre-production period and the fact that actors are not normally part of that it never really struck me until so strongly as with this movie because we couldn't do anything until they started speaking because everything we did was based around rhythm and and the length of time it would take to make the journey so we couldn't start digging a trench until we'd walk the scene on an empty field so we started literally with an empty field with two actors with their scripts and we marked out the trench sides with poles and every time we got to a scene or a left fork or right foot we marked it with a different color pole and another scene and another scene I had two of the younger actors playing all the other roles so therefore actors for six months and that goes so you know it wasn't until we'd walked out the trenches that we started digging and we dug over a mile of trenches and it worked in layers one after the other and that went for no man's land and fields and farmhouses and woods and orchards we couldn't start anything until we had walked it with the actors and when you were walking with the actors because there's times when they're silent there's times yeah because they're not all talking and then arriving no how did you all work that out so you finally said okay we're going to start here here and then we turn left that was just instinct that that comes from we see it as a theatre director I am NOT unused to it trying to establish rhythm and tempo of an evening without cutting I am used to handling silence as well as dialogue and understand understanding of how long that tension can be retained without speech and and that's what I was trying to do all the time with this movie for me the most difficult scenes are with people you know you talk about the bigger set pieces actually the most difficult scenes by far with the scenes in which they were just walking and not speaking the first scene of the movie gave me that the most sleepless nights because I wanted to feel it's the only time in the movie before they get given their mission effectively that they just I just wanted them to be to talk about things that they might talk about to not talk when they didn't feel like talking and to read a letter to just sort of idly talk about what's in the letter maybe what's for supper you know and and through the cracks of that little conversation gradually reveal the details of who they were and how long they had been there and the differences between the two men but I didn't want it to be expositional I didn't want it to be on the nose so those were the scenes that you know it took real courage for me to say to Dean who's playing Blake in the beginning okay you got a letter just read the letter and he kept saying but it's taken too long it's taking too long I said no just take the time it takes actually read the letter put it in fold it up put it back in your pocket and say what's in the letter and those are the things that took the courage for me you know that what then happened was that watching them and being with them all that I was able to very gently direct them first of all I watched them a lot what's the way they were with each other the way they were physically they became friends off-camera which was very helpful to me and I was able to just let them let it cook a little bit rather than come at them with you know specific directions early and also watch the way that they were naturally in the land and the landscape of the way they moved and and of course we had the operator there with us the whole time or from different operators different rigs and Roger Deakins and we were a little small unit just walking through fields you know and then a group that gradually emerged out of that and if you think about this the sequence that you showed at the beginning here I that did start with me and a script running across an empty back lot at Shepperton and saying I think he's gonna throw himself down here here is where I wanted to look up here is where I want the flares to be you know here is where I wanted to stop in the corner I wanted to go through this little store here so this is where we and planting flags and just walking it myself that process started actually when I when I was doing Skyfall and I wanted Javier Bardem first speech to be one long take and and no cuts I wanted to approach the camera very slowly so I I started just reading the speech me and my script supervisor trying to judge the length of time and the speed at which you'd be walking and then we constructed the set around the speech and and it occurred to me actually what you have to do is you have to construct the environments but only when you know the rhythm of the dialogue because obviously if you you know you will have a dialogue what's taking place in an orchard and you know they run out of things to talk about you've got thirty seconds of dead time and they're just walking or the other way around you know they've got too much to talk about and they they stop the orchard stops before they stop so everything had to be constructive turning around you them turning left and turning right which becomes a lot of because of the maze did you go through a process and working out a design of that before you then actually were on these fields and walking it yeah if you study the the the way the trenches were built I won't but we were there now but there were you know there are four lines as the rear trench third line second one front line and then there's the comms trenches that link each trench one there one way streets one go some go up some go down they've built crenelated they've got zigzags in them because if a enemy drops into them and opens fire you know if it's straight then they can wipe out a thousand men like that so they have to build them in zigzags and when you go into them yourself you you're in this maze and you very quickly particularly the sons in you lose your sense of direction you know where you are so that feeling and the way in which each trench had a different atmosphere you know some go through railway cottages some are a little bit more organized and when you get to the front line you feel this dead deadness of people waiting just waiting and also the the pounding it's taken for three years this thing and it so it's been destroyed and rebuilt destroyed and rebuilt and so you have to do that with the production design you have to construct these layers of this sort of history of it and this sense of men just waiting sleeping eating dying all in the same space the smell of it that just that just the the dead then we had one photograph pinned on the rule Roger Deakins and I it was a and it was the framing it was everything about it just seemed to be our movie we didn't have a lot of examples of other movies that had been in the same world other than the obvious ones apposite Laurie etcetera but you know the way in which the movie moved and spoke was different from many of those so we had this we went back to source photographs and one of them it was just a photograph of three guys they were having breakfast they were are standing on the parapet of a trench and about 20 feet away was a pile of bodies waiting to be buried and it was this the normality of it it was the fact that there was nothing they were just going to have their breakfast and then bury their friends and it just was everything that movie was trying to be that the two things could coexist in the same frame that the I had time to go from one to the other that you were able to the the the framing of it and also the lens I mean we didn't want it to be very long lens point of view we don't want to be very subjective like a movie like son of Saul which I thought was a Mac but very very subjective everything dropping out the focus beyond our hero nor did we want to be super wide you know we didn't want it to be like you know the revenant for example which I loved but very very wide lenses it's it's really shot on a very very ordinary Fritz on 40 on a 40 millimeter lenses that's that's what it is the whole movie it has a certain amount of drama but we're trying to find a way of not dressing it up and figuring out in pre-production how long a take would be how you would hand off cameras to cameras can you talk a little bit about that in pre-production well one of the things Roger Deakins and I talked about a lot was let's talk about why and before we talk about how so we just talked about what we wanted the camera to do and why emotionally at what point do we want it to be intimate at what point do we want to see the geography to understand the nature of their journey what point do we want the image to see them tiny in a giant epic landscape at what point do we want to see what they see but not them and and at some times we want to see them and not what they see it was a way of trying to use the usual tools of film grammar without cutting but not ever stinting on what we would normally want from a movie at that point you know I prefer to talk about as a movie with no cuts rather than a one-shot movie to me we were trying all the time to develop this language this dance between the camera the actors in the landscape all three of which are moving all the time and and you know I don't what the other guys would say but to me you know it doesn't matter how much you plan at the end of the day it's just there's an instinct that kicks in this is what I think it should be and it's not always logical it's not always rational and there aren't necessarily rules it's just this is what I feel like it is and so it's just having the time with me and Roger just to talk about it we did storyboard we often story bordered it over and over again till we got the right version a sequence way he crosses the canal at one point across a broken bridge we storyboarded that six times till we found the right way to tell the story because I was very determined that the movie was always pushing forward in this sort of threatening way and I couldn't find a way to get him to if you imagine he had to look across the distance he had to jump and then he had to look over the edge then he had to go back take a run up and jump and I didn't like that because it meant the camera was going forward back and forward again and I felt we were going back over our steps and that really bugged me and I kept trying to find a way where that he could he we could see his thought process as to how he was going to get across without the camera stopping moving forward so there was this threat this sense that we were being pulled through the movie rather than just being presented with images that you were being you've been forced to walk he like he was and that was the kind of gut instinct so a lot of the time we were just talking about it until we found the right solution and as I said earlier when we did it was like yeah that's it and we didn't really have to talk about it again and and very very few of the shots changed their fundamental nature when we were shooting I mean normally I would go on sand and a little bit while Quentin described you know with his last scene you know you make changes all the time you know because you see it and someone has a better idea than you or you you you see the scene differently but suddenly you're on set and there's a shot over there that's much more interesting or what you planned somehow disappoints you or whatever it is but in this one we've been through that process we constructed this dance and then it was just adding layers so we we rarely changed it in pre-production for utica obviously finding the city there's gotta bend one of the major issues but what we're are some of the challenges for you in pre-production besides putting your crew and cast but which one who comes up for you yeah the the casting was a big thing finding kids finding enough children and what side where the shoot with the spoke with Virginie we were gonna shoot Germany have really saw that their human rights issues you can only shoot the kid in Germany for three hours so he I know and so I thought well we'll go out to the Eastern Bloc countries was gonna be way easier only five hours out there so but we ended up in Prague because they had still had the architecture and everything incidentally New Zealand 10 hours way better we really working belly and butt proud and and and the outlying areas still all the architecture was still intact because it being bombed and so we yeah we decided to go to go there and it's yeah various reasons made more sense then also just I've kissed the the period vehicles everything at becoming more scarce and because it wasn't a massive budget we were having to kind of trade things off so like we wanted to certain amount of extras that would be I have doesn't really like more people in the town square and I said well you have to swap a car for ten people and vice versa lack of a more more vehicles I could get really as those figuring out throughout the city but where we could like spend the money and get what we wanted and then the and then yeah the rest of it was pretty straightforward every production we just did a lot of rehearsals with the kids in creating the destroyed city can you talk about a pre-production how that evolved it was like in some shots it's like a little bit of State Extension CG stuff but there are some places out outside of Prague where we got to shoot which were demolished like factories and things like that which I think a few people have gone here before it was great that's good and turning into winter when you had that sequence there again I'm wondering as you were thinking of this before actually yeah we went back in the winter did some pickups I usually try build pickups in Tamiya at the my schedule and always not many go back to something it is storyboarding part of your process for this or and if not how do you community rias things if it's a dialogue state or its yeah but if it's so it feels a bit more complicated or something where I know you know I want the camera to in deficit in place that I'll do that but mainly for myself there are lots of sort of in terms of again pre-production stuff like the props and in particular all the signage is all the posters I'm interested in how those evolved obviously had to have the people we heard the one set where do they come from well they're all that we do a lot of research they're all very authentic stuff and yeah I mean I mean that was a uncomfortable thing as well as putting all that stuff back up at these places like the main square where whatever the galleries and stuff has a square where Hitler did one of those rallies and stuff and so if we put these big banners up and really get a feeling people were there back and it was a real life it wasn't like because it's already like this sort of every Shawn Baranof studios which was built by the Nazis for their propaganda films and it's even that has this sort of like strange heavy residue around it hanging over its a in there in these stages where they you know when he shuttled these films and outside of bobblesberg progress through the next big place to go and shoot these films and so at any given point walking down the hallways of the studios you'd see these other Nazi soldiers walking towards you those how that's easy there's someone else isn't it there's like a different production there going on you know who's you know where the soldiers belongs to which production and stuff and so Ciro's looking at they put a cannon would they get that cannon from who had gurbles office yeah gurbles office he our production manager head gear post office in designing the the the home where they live which I think has two floors besides the hidden f'hace talk about how that evolved as an pre-production before you actually obviously built it after that now the where we yeah we built the the interior the interior of the of the the house and those Rapids and who have worked with for years and and yeah we just we every room was very different in the whole palette of the film was very colorful and so we there was a real decision just from looking a lot of footage in and there's recently there was a very colorful time and there was like a lot of like the architectures very colorful the fashion was very forward a bit of time Germany wearing a lot of the textiles that they took from other places and so though you know it was a coming for them it was a party that just wouldn't stop and then and so we've got the glass like wardrobe and stuff can we see the stuff you've got in your archives and we learn all these big racks of of clothes but everything was brown and gray and it so it's one of the builders were very surprised to use like bright colors of the you know the interior of the house and everything because this I used to you know like very D saturated and gloomy sets and gloomy wardrobe which I get good reason for that but but for us we wanted it to just feel a little brighter not because there were jokes on the film just because it's it's it was authentic in action and also like the idea that you know that because it only there's a great book you should read called blitzed which is about the drug industry and there and Nazi Germany and basically the entire country was high on meth for the entire time and partying and when I knew that the Russians were coming and ever in the war was in that it was all over for them they went even crazier and partied harder agggghhhhh just knowing that they were gonna look glamorous and go out in style and they face the headboard of the bed in the house is a pretty remarkable headboard I assume that some one of your productions on our props people said do you like this do you want this do you remember this particular moment cuz it stands out yeah yeah yeah you're right no I mean all that stuff I mean it was like so summers creepy because like the other invite that offer up things like vintage you know hit the youths lives if I think that like the actual kits the backpacks and all this the kits that they would take to these camps and you know probably Waterloo burn and now the price was like we need these felt conflicted but also a lot of those props and things that the beautifully made things of the furniture and stuff is incredible and and it's beautiful craftsmanship there as well they the builders were like the floors was like most of the things that house were built in the old style as well yeah it was Marty I think we tore them I'm gonna jump over I wanna hear pre-production issues but Marty I'm not sure about timing here if you have to time to answer the question about um your I mean there's so many locations but your pre-production issues if you've got time I know there's something else going on for you but yeah sorry but I am listening I you know it's extraordinary what I'm hearing of course I I the way I always approach it is I find that again the way bond was talking about insecurities or anxieties I play it I draw it all out and usually whether they're actual drawings or notation drawing smaller drawings including in many cases editing patterns movement and framing camera movement within the frame forward back whatever in a hotel usually or in a place where I could be quiet for like eight or nine days and just to do with music and deal with it as best I can lay it all out completely because it's going to change you know but I have if you're not not all the time by the way but when it does change at least I go back to my original even in some cases a certain pencils I use the original drawings and the the impact I should say the impression of the actual pencil not a Xerox of it or remember the camera moved then and mentally the impulse for that this picture is different because I had to do that but the style what I wanted to do was have the film had to be anonymous there had to be an anonymity to the look of the picture yet within the frame they had to be the emotional impact and therefore it was what not to do what to take away and ultimately when to do the last little brush stroke in a shop or a performance so to speak and and finding many different reasons including the CGI issues with the six lenses and that sort of thing finding eliminating even more so than usual on set not necessarily taking extra shots that I know because it was so many locations that I know that in the editing I might want to try not try as I don't need it I simply don't need it a lot of that happened when I was doing silence - in Taiwan and so it's a matter of it was a matter really of having the strongest emotional impact within something that looks I don't you know car going by shot of a restaurant person sitting at a table we didn't try to emphasize anything really he has to some camera movements and things like that but bottom line was anonymity and at the same time emotional and psychological power and so this all had to be played out by myself basically in a room and then ultimately checking out the locations and sometimes it's fun I didn't do anything on certain scenes I get there and I say okay we move from here to here you know but by that point I had had the I knew where the impulse was coming from I knew what what my what my a foundation was for the look of the picture and who knows I could make another maybe a similar thing I don't know but it's simplifying it Marty did you build anything on on this piece or what did you build or almost all of it practical no no we built the house for the interior the house that Frank and his second wife and their his first wife and the kids are in the kitchen that's an example when he comes back home and he discovers that his daughter has been pushed by the grocer I saw him come in the door little girl is sitting in that doorway he goes by he says up off-camera character he says what's the matter with her and his wife answers and as he as she answers we carry him over to his wife would then take him back to his daughter and then we'd let him take the daughter out the door one shot that was done there you know I had a feeling of freedom that way and I know those rooms I grew up in some of those places like that so I know what it's like going to see the house that Jimmy Hoffa supposedly was shot it was the interior was was a set at that point however I designed it in such a way that it was about the quietness of the frames thank you and when DeNiro enters the this place he you see a character you never seen before in the movie cutting up a carpet and the guy looks at him he says hi Frank and he says hi Sally and the kid says that the sadly says Chucky's late Chuckie Sally hide Frank who are these people to get the impression and to keep in the audience's mind that this could all be a setup to kill Frank you see um Frank then looks up at the first floor landing and he looks inside to his right there's nobody in that room that's dangerous but put the camera in the other room Gennaro walks across and through the room as he comes forward towards camera he notices two other people in the kitchen and then we just pan him over he checks out the kitchen and we pan him back I was tempted to take a close-up of that and when that happened the nature of the body language the sense of danger the feeling of the creaking of the floor of the house even though was a set uh this I knew was the essence of the film you see taking it further what he does shoot Jimmy in this film what I did was after the after Jimmy gets shot I pull the walls away and we pull back to a proscenium and obviously a set I don't think many people notice that but it's obviously a set and I was asked aren't people going to tell us that it's okay don't there's something psychologically that happens when his best friend is there on the ground and he's killed he's laid out on the ground he puts the gun on him straightens his shirt he leaves and we stay on the body and the body is like a tableau a presentation a sacrifice you know to this life 80 games it actually goes back to this incredible impression that I had for this movie called autumn leaves a Robert Aldrich director to Joan Crawford and Cliff Robertson I think his first film he's a pathological liar and I'd seen that as 12 years old or whatever and he's obviously as a serious mental problem she's in love with him he's much younger there's a scene at night but he's there in their beds and he's having all kinds of emotional problems and there's a scene at night that she's sleeping and she hears him crying and she turns around and looks and she sees him by the wall he's standing up but he's crying then the camera cuts and it says if it's a glass wall and you're looking at him and his hands are up like this and she comes up and comforts him tries to comfort him now there's nothing like that in the movie that's all done one shot and somehow that bold move was so disorienting you really get the impression of a person who is lost their ability to cope their ability to discern reality from a from fantasy you really get that and I was about 11 or 12 and I've never forgotten over that that one cut and that one image and so for me was that kind of thing to find the restraint and not find the the the emotional power within a frame that had to feel anonymous another question here were there any scenes or moments and performance because I sort of asked you them all think about this for before we started here there where you needed to readjust the performance of one of your actors and how did you do that and may not be true here but maybe there was a one or two and we're just as directors two directors what you say or do when you want to change a performance were there any moments that stand out for you here where that happened and I think no I think in this picture we had we had by the time we were able to get the financing for the film the people involved were already in those parts in a sense and they know each other for years - I never work with Al Pacino before but I always wanted to Bob an out what you see in the film they draw on their 40-year relationship as friends and as actors you know it's their Pesci you know for many years sometimes it was a matter of getting the right kind of insinuation without it being insinuating with Joe's dialogue and how to make an impression how to say you're doing this but without saying you're doing this for example when he tells his guide towards the end of the film he says he starts a scene this scene this was not in the script it was it was something that I said let me think about it further let me think about it further he sets up he tells this young guy to go and kill somebody in Northern California and there were all kinds of problems in the script you have to understand that this guy stole jewels from him he's a jeweler back and forth back I tried all these different things and finally as let's just stop the movie and have Pesci sitting there looking forward for its camera saying there's a pork store in Northern California aware of this place of near Walnut Creek and you see this guy you never saw before it goes on huh I'm looking for a favored not not not for me for a friend that we'd like to get him down towards straight see if you can happen and ultimately that undoes his that undoes his his situation he gets arrested for that but um I found that too position Joe in such a way to have quiet and the patients didn't have to yell didn't have to threaten he's talking about a pork store in Northern California Walnut Creek what is this got to do with anything you know those would think those were the issues I as as the picture was being shot that I found frightening to find new ways to do it and or I should say refreshing ways to do it or unexpected ways to do it and or to keep the dramatic impact or DeNiro sitting in his car in the car wash I had all these shots planned for the car wash I took one shot of him and he's going through and just kind of in slow motion and I said that's the shot let's go home when Joe Pesci when DeNiro gets in the car after having killed Hoffa there's a that's interesting yeah there's a shot over Pesci and De Niro's got into the car he says nothing and Patty's moment of obviously knowing what's happened I'm wondering did you say anything to him did you this is very good point because in the script it had something that Steve and I said leave it and don't worry about it said the line was something like how to have a good trip I said he would never say that I said leave it in leave it in let me you and Joe has to say is he would Bob s to say have a good trip really after what you but you instructed the club this man is so close to you to do I just don't see anything and we were sitting there members a very hot day and was on this tarmac and we were talking and I said just on one page you sure maybe he could say this maybe he could say that I just I mean really there's nothing you can say and at some point I'm gonna lose job or Bob or me somehow the thing about give me a glass that's happened give me your sunglasses and then we looked at he said yeah that's it and then he said hey when he gets back I forget we said this when he gets back I get back the glasses great that's it and so it became something like we all knew it had to happen there had to be some kind of recognition of what was happening and what had been done but it's by gesture rather than a line like gay did everything go okay did everything go okay you don't say that yeah thank you thank you thank you we I don't know what your timing is Marty but I'm gonna go off to are you still like this I do have to get to the house all right we're gonna thank you very much for the time you guys are up here for a little longer I'm sorry and I've met a number of times when we know Sam thank you for everything you've said about me would assist extraordinary and so moving and never forget it and and okay yeah I mean maybe we would meet in a couple of weeks again [Laughter] let me pick up on there with with this idea I'd like to hear all of you talk about this issue of if you had to redirect your actors what you said and how you got that to happen if it happened and bond wanna start with you I total Bob a take this high side meta para terrorism all the control console and I know what give me more will even be able to do testing and something that will be keep them in there so I also try not to go to the actors after every take and tell them what to do and it just performances they're all great actors already and I have a lot of trust in them I kind of intend to more people do - think I get to met more Weiss I hadn't come to you and you didn't okay I'm talking about to get on relativity anodized oriented hydroponic Oh cotton Vicky's mother today Scott Curran to do miss their got you can somewhere pay route watch window pan Yannick an Ocoee doesn't so Tiger and Quentin you guys acted before so you guys must know sometimes when you hear the directors adjustments and their directions it feels like they're interfering with your process so I always have this fear that my directions and requests may not help them but actually just interfere interfere with them great old grandma pompano caretaker manager Luca destined a tonin visit islands Rock a manga patriarchy a sigma answer deliver on Anika Google couch on the offensive tennis at the origin has to each other so what I try to do is just repeat our taste and now the actors will naturally change the nuance of their performances and those multiple takes and I take all of that to the editing room and experimenter the parasite in dr. Lena we moved to the hanami on a order imagery Narayana intended the conditions take her appointment more could take twist and a panel take to that area so I didn't take for got a rock from Hanoi man England a or mana take bonacic we don't go in there Krong geometry got I got a stitch here sir Darwin a visual effect October Laurie uncle Kyoto is a primitive otaku God hasn't owned take Goodman swap I see in Bogota but with parasite because you had so many characters especially with the family scenes they were all in one shot together and oftentimes when you look at the take with the father his best take would be the second one but the mother be the first and the son it would be the fourth so in the editing room what I did was I cut them all out so that the performances would only be their best takes and stitched them together in one frame with visual effects and that wasn't that difficult to do there were a lot of that in this movie okay I embark on danger mark Ronchetti degrees because satchel and sorrow darin to get a karana premature impression on Gaza because her children Pikachu gonna take a Kazakh and crush a Teresa so it's impossible to tell when you're watching the film but there are several shots where it's actually two three takes and one frame that was stitched together later on that's a new way of directing actors for so did you only bring anything ever really personal time if you had rehearsal time how did you use it do so turnip Audrina do so deep you and Johanna Tyra Newton polyhedra taught Sudoku on chatter chess or anabolism in the other camera guy became moving a woman looking I needed an inverter man poly and ami that rope Ali Tsugumi do circuit intervention camera Toliver in and about you know crota Connie he Thome Boche kamekona or second victim that gay Americans anatomical suit could we do to Baumgartner and accumulate that I said it's very hard to translate all the actors and I don't really like to rehearse so our process was just to move as fast as possible we would do the the simple physical rehearsals of cat a coordinating camera movements and the blocking but we would pretty much just shoot right away oftentimes it would feel like a rehearsal with the camera rolling and oftentimes when you know when we do shoot these like takes the gears won't fit and something will feel awkward but sometimes I would actually feel more realistic Wilner carries on in Jake and I said to clip-on motivated to tell by d'marco integral to him or Pakistan gone by decay Paragon had chili sauce certain tissue either captain and crew or girl at Indian cotton cotton is known as a solo handsome child it's relevant that coconut rum has a little mistake hmaclean algorithm socati good test takers are cutting and so with the clip of parasite you guys saw earlier on the face that some gum will make if he's pulling the tissue with the red hot sauce on it he and I have worked together for 20 years now so usually our interpretations pretty much coincide but with this one he had a different interpretation until the fourth take he put on a pretty comedic face there's a check out some progress I can oh I knew killed is Veronica yeah I in the case of mikogami amoeba that we call parody not on the day huh and then there you can Iranian through Paco de la way so take a five whether Creek echo the oh my I could get three so with that I had to ask him I have to tell them that you don't have to be funny I just want to want you to make this face as if you're saying to the mother I am so sorry that this is happening this is not what I hope for and that's the new ones that I asked him to show with that expression that was the fifth take and that's what we use in this in the film when when these characters are lying which they do for us or for the other characters who they're lying to to believe what they're saying how did you all arrive at a style of performance so that you just think the other characters were being ignorant for the entity core team Adam doesn't I hope so because the characters don't believe that they're lying ourselves that we say oh yeah it's a terrible terrible Missourians oh god I could be trusted to test an alien indie rock Ohana nor mother I said I so as you're talking to chip in new Gordon Kumar animal woman III catcher is he upset sorry three deputies arrived with tennis and got to check out New Zealand today so there's actually a line where the Kim mother points out the daughter and talks about how she would have become a great con artist which means but they're actually pulling a con job at that moment but they're not even aware that they're doing it they have no sense of guilt and they don't really think that they're doing something bad here dilemma God shown us hockey reverse angle on a on a on a ETA at Koko Daniela Wyatt a pony on some like Ricky bit queasy so to achieve attack echo they would do cause a little bit queasy Oh dániel nagy theater Katrina and also when the Sun you know pulls up the fake diploma and says this is not fraud I'm really going to fight University next year their character that character actually believes that and that's what I requested for the actor that this he will actually go to this university is a year after that we saw where the Sun is directing the father I was he direct that way sometimes I often suggestion able to move on autopilot that sometimes it's embarrassing because I'm looking at myself will you actually say the lines for your actor every now good kick the ball creator onclick event the tasting that can do lots of are what I wanna I can and some to otaviano Matata take the Checotah and condemn or won't gamble had in the chemo report cut more but the Patagonia ng redundant the igniter cannon about so I'm not as intense as what son was I tend to be more saying in a more roundabout way I usually always start with that was great that was the best take but let's just try something a little different sex scenes like violent scenes they're oftentimes a challenge for any director and actors how did you handle that sexy mmm did you think you might enjoy wanted it because over here certainly the pool today at poopoo Ayrton you sanjog in some gun though the saticons Onan sexy to touch a button and cool soap is a strong man on the party table with its moisture cuckoos how long the chatter - naked them there yeah so parasite you know they're having sex on the sofa but it's a very everyday mundane moment between this married couple and also in that situation rather than the sex itself it was more important that we had these people under the coffee table hiding their true but the actors still had to do what they did how did the director get them to be there I knew all a Cohiba me a concern and his advice so she kept on young I mean there's that strange line of clockwise in that same Clara isn't there who get a give or less cryptic Duncan big story about redundant a tangy COO you'll be able to perform as a peyote not much like a doctoral education income depends on Komaki Banga a critter in Monga Heathrow how good to see joined in the mega manga rhetoric a promote elemental be a negative rent a weed okay with the lead on to taco to co-opt over so that line was actually not in the script I added it in my storyboarding process and thankfully all the actors loved it they were actually more enthusiastic about it than I was so I was very grateful because I didn't want to push anything that they were hesitant about but they were so aggressive with just making sure to get that scene right thank you thank you Quentin you have some amazing performances I mean I must save the scene in the trailer I think is this I just is total total managed magic Wow and then your choice by the way and would army fascinating with its the jump cuts that are there whether that was thought about before and after hand but I am really interested in your issue of redirecting performances if and when and how well it's it's interesting because I had this question and I was like um like I've just been lucky the last for a while now I've been working with I think some of the best actors in the world alright you know so if I wanted to be more comedic or more stronger or quieter or anything like that I just I would just tell them I don't have to its tongue I would just like you know I would just tell them but mime interesting that those words that you just used a kind of result words but do you feel that that's enough because they're that talented that they don't have to be given another kind of like if you say I want this more comedic that's enough well I hear it I know what you want me to say but it's just so specific to every particular moment oh no no no no I mean you want me to get in more detail but but in the abstract not talking about this job versus another scene not talking about that actor versus another actor it's hard to Webb spin about here you know so it's like look I think it's part of a director's job to be a little metaphoric as you talk about things like you can also say I want a quick around one that's I make it more of a joke or you're not selling my joke again definitely they say things like that it's always more fun I think for both the actor and for the director to be a little metaphoric so you're not on the money about it but I think it's really only when you're dealing when you're stuck working with a bad actor or sometimes an amateur that you have to resort to kind of trickery or you play a little game to try to get your and get your response but like you know where the professional actor you just tell them in terms of that particular scene let's deal with it for a second well okay well in in that scene well that was actually that was kind of an interesting thing because it was that kind of developed where initially it wasn't going to be a situation where Leo was gonna screw up the scene or he was gonna mess up the dialogue but Leo really wanted to do that and so then I wrote a version where that happens and then he does it and then once he did it once we had that big cake where he like it's out of the chair and you're not all right you know okay why that's gonna be in the movie all right so uh so now okay so now that's what we're doing and I knew that we had to have a corresponding sequence in the trailer and so I went to Leo and I go we'll look here's the deal here's what I want here's what I think we need to do we need to have you go into the trailer and have a freakout and I don't want to write it I think I think it has to be improvised I say I'll give you a whole bunch of subjects for you to be freaking out about but well we'll come up with this well we'll take our little trailer set and then I'll uh I'll put a camera I'll never change the angle I'll just do it with jump cuts just think about a Travis bickel's sequence in his apartment for a taxi driver so you won't have to worry about matching anything you just go off and have we'll do three tirades and we'll just run the camera until the until the footage one's happening until the mag runs out and and so I gave him subjects to focus on that he could focus on and it was just let it rip all right and then after a certain point if it was going too much on a subject I throw another subject out at hada he'd go off on that and we just ran it until the camera rolled out so it's like you know yes oh maybe he's talking about his drinking maybe he's making fun of himself for his stammer and you know nothing yeah and he's getting mad you know then I like her okay James Stacy yeah I'm not James Stacey man he couldn't be a Wrangler on one of my my show he would either it would be outlawed number four on my show and he's just sitting there he thinks he's so stuck and smart and that okay and now the little and that little girl she's such a little it's easy she thinks she's so smart alright this weather she's so smug ah she's gonna be out of work in three years I'm never gonna work again and then I was just here and then but then that actually started becoming fun he would literally just turn on a dime not knowing that it never had to be all together that it would just be the best bits put together you know you see that little actress said that's as an amazing line about acting that you have which is what acting is avoiding impediments yeah yeah yeah where did that come from the beautiful no that's what it's the absolute truth actually there was this really funny moment we had one of my favorite days on the whole production and even before the production but this whole experience was our script reading and we had a pretty all-star scripts for script reading alright and I always really liked the script reading anyway that's almost like it's like the first cut of the movie as far as I'm concerned and if you don't show up at the script reading you might not have a part all right everyone has excuses more they can't be there and I have recast usually not because oh I'm just gonna teach them a lesson but good okay so Sam you play so and so's role mm-hmm well I like the way Sam did it fire that guy and now say I'm playing two roles I've done that for time so you know come to my script reading it's a good day you're gonna want to be there but we had a but we we have an intermission and my things are so long we had an error mission and and literally I was at Luke Perry and Timothy Olyphant were going around and they're like laughing about the little girls like acting speech and then and then like Timothy goes and you know what she's right about everything she says we become professionals and like okay well this and that Bobby she's a hundred percent right about everything and none of us here follow the none of us at that table follow all of that information there any times where you where you felt you needed to rework a performance either or any of them there was one actor I won't say who who who the actor is but there was one actor they were a little over it I was I was surprised they were they weren't adding enough to it and I was surprised and as I went and talked to them about it that they needed to bring more out of it and but and so that actually is a situation where I'm where it is like what you're talking about and and that was difficult because you're working with them but you don't want to rob their confidence but they're they're just not doing it all right and that was actually a case where I had to say you're not doing it you're really not doing it and I I think you need to be over here I don't know why I'm watching you I don't know why I'm listening to you I don't know why why the other characters are listening to you you have to give me a reason to listen to you all right you're a oh and there was even a situation you're telling a story I can't even follow the story you're telling what is the point in your telling this story it's just it's a word salad it doesn't mean anything tell me the story in a way that in that I'm a warrant I can follow it then it's not just a bunch of blah all right but that I care about the end of the story Sam Wanamaker the character of a director it's interesting that some things movies got somebody directing somebody else got him plea directing somebody else do but the point is when you were when you creating this television director mm-hmm what were some of the processes for you in talking to that actor about what he was going to do oh god well Nicholas Hammond is so amazing he won Sam Wanamaker is a real guy all right and he's a real actor and he was a real director and he went to television they did movies and he's like famous for being one of the real major movers of the Old Vic in London and so the but as an actor I always found Sam Wanamaker kind of ham a hammy actor and and so who and me and Nicolas we're talking about I got it look I am positive as hammy an actor as Sam Wanamaker was I'm positive he was twice as hammy a director so you cannot play this character too big all right you know and as opposed to like say Peter O'Toole in the the stuntman which was a little bit of a jumping-off point okay I don't want you to quite matter what they're to be the the genius lock that there is a Peter O'Toole and there is this you're just hammy because that's what you think directing is supposed to be and so anytime you talk okay now between you two guys all right you know the new tell it 20-minute story about what they've done and what they need to do next and and I couldn't believe it that we did a we cut it out of the film but he's this one Nicholas Hamill is one of the best improv actors I've ever seen he comes swooping in on a crane and to cut on the Lancer tape you know and he's like Hayley Mills eat your heart out that was perfect okay now Sam Wayne here's the thing with you you gotta understand you're two Cowboys you have never met each other before you don't like I know when you say you can't do this you know what he's calling you all right same thing and it's going to be it's gonna be a fight it's gonna be death right here blood in the street and tell shows up and stop the two of you and then even talking whether you're like another series the directing Rick he goes you are a hamlet and this chair that you're sitting in its the throne of Denmark and you're Hamlet and you're both mad driven crazy Hamlet because of the death of his mother by his his uncle Caleb because of syphilis are you ever this way on set yourself okay here's a fare after Nick would do that laughter Nick would play Sam you had to direct like that like the funniest thing to just give complete license to the your inner British actor just have him come out and then just every direction was so flowering okay walk with me talk with me [Laughter] yes it's true some directors or actors and speaking of some directors as actors tiger that's you for I'm gonna shift the in terms of performance change if there were issues that that you didn't have where you needed to redirect it before us but I'm gonna ask one very specific scene when the boy discovers the mother hanging it's an incredibly powerful scene it's it's spoiler kind of beautifully staying stir you fell asleep doing heroes can you talk I don't know whether you did have to redirect some of your actors during this process and if that language was there and what you did or and specifically in that particular scene how you created it well that state was always meant to be right there the reveal if that's for me reveal was always it was always gonna be just the feet move sort of seated the shoes in earlier and with Robin he knew that that was coming up and so he was I guess preparing for it a couple of weeks before and he became pretty apparent that he was able to get quite emotional and he's he's very insensitive so we're always doing stuff like that speech with a kid yeah it was a bit so he's not gonna do anything if he's a psycho that he's not was like seriously well yeah how we're gonna you know it didn't work so pretend that your mother you know anything like it's the it took charge it able to try manipulate people that way feels false as well so I was very lucky and there he yeah if there was we didn't have to revisit in terms of adjusting actors I don't I try not to go in and talk to them very much in between yeah like for doing our Tiger Woods but let's leave them to it and and this is something really wrong I'll go in but if I want something changed I'll try and I'll go out there like talk to the cameraman you that up well this is not sorry we're doing it and then I go let's talk for a few take so they're gonna do something different and then eventually I was like I gotta talk to an actor and then where I usually do it you know this is what they I mean and also it's the notorious mumbler so people it's like now everyone knows now like how bad I am if I'm not always loved yeah you go you go you got it you got it and that will just be bamboozled what the oh it's all of that and then eventually oh then I'll try everything just fast as possible fast as possible just just as an option I don't like getting into the bins are the big long discussions with their characters and stuff throughout this their job beforehand my main thing we look for us that way with anyone I'll say just like I don't want to see ten take some same thing I'd like something that if you didn't ask for 10 takes do something different also don't ask me to don't ask me for an M protec and this this you really think you got it because I don't still they make those often that talk to you we're doing in protec which is just ring alarm bells for me because usually I mean yeah I only do improv it's actually gonna help the scene or like move it on somewhere if there's a problem something there or if you just want some more jokes now that's something that they've come up with usually actors will say ok I'm Pro take action and they were decided first then it comes on their head circle tables are cool doesn't help not funny pointless waste fun so how other people are good at it some people not do it but it's just one of this is what then people feel like what's the by the way every single person on the planet isn't revising at any given second so we were all revising google it but just change that some of us shouldn't Sam I want to do you talk about this redirecting but I want to talk about one very specific scene which is that Blake's death which I hold that lives on that it's I just think it's his performance and what you got and also the George's performance doing can you talk a little bit of how that at wall [Music] well actually I didn't because of what I talked about before I didn't have to direct the boys the two boys very much on the day at all because we've been working so long except in that one scene and what I did with any of the interior scenes like a dugouts rooms tunnels we'll have here we we we rehearse them on stage at Shepperton I built the walls out of cotton but piles of cardboard boxes so that I could move the walls easily to get the right shape for the scene and then I would run it with the actors a nudge bring Roger Deakins in and we'd look at it and then we'd construct the set based on what we've done so this was one scene where I did it just with me and the two boys I'm a script supervisor in a room at Shepperton and they absolutely nailed it and this was months before and it was I find it really moving and I said okay I don't want you to do that again until we're ready to shoot it so when you learn the physical shape of the scene when you pick him up what you say when you know what we all put your physical position when he's lying on your lap all of those things I want you to go through it just the two of you in a do it in your hotel room whatever don't I don't I don't want to be involved don't need to be involved in it and I want you to hold it until I think the cameras ready to capture capture it and unlike a normal process where you just you know you could do what Tiger saw them at hey just give me something different do this do that you know we can shift of ground the whole time and they had to do it in a single long toes eight minutes and it had to be coherent and any little thing from camera could derail the scene so we could have a beautiful take of Abdeen dying in in blake dying into Scofield's arms but then if the camera was in the wrong position for when Schofield takes the Rings off his dead hand the this the take was done we had to start again I mean there was no way to for me to cut into it at all obviously mm-hmm so I for me the job in that case was holding him back until I thought we were ready to capture exactly what he had to do and then I also trusted one other thing which was particular to this this movie which never normally which is that he had a rig in his backpack so that when he goes he stabbed by the German pilot when he opened his tunic the blood just started pouring out and I said told them not to fire the rig until I thought he was ready to react to the blood and because I had a feeling that the feeling of just pumping blood out of his own stomach would be so overwhelming to him that he would he would react differently and and that is what happened he that well I think though the things I my favorite little moments in the movie is the look on his face when he sees the blood coming out of his own stomach and it is genuine shock I mean it took us a long time to do this rig and all that sort of stuff but it just pumps and pumps and pumps and pumps and keeps going and there's something about bleeding and bleeding and bleeding that actually had an emotional impact so in that case it was a it was unlike any scene I shot wasn't like a staged scene because the camera was moving the whole time but also because that rig would not have worked on stage and it wasn't like a normal movie so because we weren't we weren't fragmenting the scene into its component parts it was just one thing and and so I was encouraging him to serve live it really as much as anything else and the only things I remember saying on the day to George were when he says am i dying I think it's the it's the one question you absolutely don't want to have to answer but you will tell him the truth but it's not easy so take your time until you're ready to say yes yes I think you are that to me is the act of a friend you know the line about doctors you know what constitutes a good doctor is they tell you the truth and they stay with you to the end and I always think about that about friends you know he act of a friend is to tell you that u.s. you are dying so you use this last minute or two of your life to say what you need to say and I will be here for you and and and so I remember going in and saying that and a couple of other small things although otherwise directed the camera but most of the time for me the boys were not the issue the issue was the day players I was opposed to say to have them extras well there have my day players effectively two days from plus three Colin Firth Benedict Cumberbatch Allen Andrew Scott Richard Madden Mart strong they were my day players right so but you know the weird thing was and they all would do it for the right reasons they all said look we want to be part of this you know I promised them they wouldnt have to publicize the movie which is out with their eyes lit up at that point I mean I just have to be an actor you know and just read the script and want to be part of this and if you don't that's fine but if you do come you know rehearse with you beforehand but the issue for me there was was we had to intersect with these lives that on paper were much bigger than the lives of the boys that we were following these were these were generals or Colonels or left tenants who had responsibilities way beyond what these two lads were doing and I didn't want them to feel like you know stars popping up and doing their bit and then we move on I I wanted to feel like their lives began and ended outside of the frame of the camera and we were intersecting with lives that were that would we just saw a fragment it's like little little glimpse through the crack of a door of a life and then we were through and past them and each one had significance but I also wanted them to not be too broad because I didn't want them for me the movie was not about the generals were arseholes and and you know that they were all sending these men to their deaths didn't want them to be you know rhetorical you know I didn't want them to be ourselves I wanted them to be people struggling in the fog of war to make sense of what's that was going on in a war that you know this perfect storm of history where you could kill a man at a thousand yards of the machine-gun but you couldn't communicate with a man 20 yards away because they haven't invented the communication that would do that and this puts you in this present tense world which you never know what's around the next corner one person says one thing another person says another and neither is the case you know and I I had to give this feeling that these people were just struggling in their rooms or their whatever you met them with their own series of issues and I had to calm them down because the energy I was think of directing actors sometimes like that one of those he gobbled things you know that the that you you detect you can see the body and you can see where the heat is and and I feel that sometimes on stage that he is in the wrong place that he's here and the heat needs to be here you need to be in your body in your gut you need to know where you are who you are what you need to do and the heat drops in the body to the point where you feel them centered and the problem with people coming in for short periods of time is the heat comes up here like this but I'm acting I'm acting this is my bit this is my bit this is my bettan you calm down so I remember Benedict you know it's very easy to misinterpret a speech like he has a speech he says I've heard it all before I'm not going to wait until fog I'm not going to wait until dark I'm not gonna call my men back you know send them out only to send them out again tomorrow and that came out to me as rhetoric in the first instance I heard it all before and I said no no no it's not rhetoric it's the truth I've heard it all before okay fine so you just want and it just had to pull the energy down from here to here and that's what I was doing all the time with those guys was just just routing them rooting them Landrieu Scott you've been there for months you hate this place you know you're sick you've had the flu this has happened just before this this is about to happen you know you dragged two men back when you say I dragged two of them back here two days ago you know we shouldn't have I shouldn't have bothered you carried those corpses on your back down into this hole and they were already dead tell them that in that one line you know so it's about lived experience that just have to compress compress take what you remember take everything you've done and push it down into this very tight space in which you're trying to communicate in a very limited time everything you've lived through and that's what we're doing with the boys but the boys had much longer to express those things so they could come out in little moments here and there but but with the others they needed to sit on this big well of emotion and experience lived experience so I had a lot of description and walk them around the set showed them no man's land and describe things that they would have lived through talk to them about it rehearse a little bit and then say nothing on the day as much as I could and except occasionally step in and say less less or more and you know you said that to quite a bit is that is that result-oriented and I don't think it is in the weird way sometimes you just need to say 25% less or quicker or in a way it's the clearest thing you don't want to be standing on set going talking about their deeper motivations when you're in the middle of a frigging scene and you've got you know two hours to go and the lights going they should know that already and and you know you do want to be talking just very very simple terms and so for me that that was the big job of this movie but you know normally shooting is a bit more experimental you know you can trace their stuff and you don't have to make the decisions but on this one I had to make the decisions as we were doing it and so it was much more like theater in that regard because I had to say that that's it now hold that but later in the scene you need to do that that you did the two takes ago and you need to so you there was a bit of this okay because I couldn't do that that lovely thing that you have you know and I couldn't do what bong did which isn't splice up and you know I did it once though I did do it once where I to taste together with a split screen and but but yeah it was it was unlike any other movie another last question for all of you although I wish I could spend spend on many days with you because there's so much to hear and share but the last question for you go what what did you learn you'll have to start finish them off perfect what is what did you miss where all the good stuff comes that the actual information what did you learn on this movie what did you learn on this movie that if you an hour to talk to another director you give this piece of advice this I learned on this movie about directing that I would say if I'm talking to another director or a new director here's a piece of advice or Sam what piece of advice might you give it well I learned a huge amount on this movie because there was a bunch of stuff I'd never done before so I I learn what it feels like to direct your own work which you know these guys know and I didn't know that and it's vulnerable you know you you don't you can't turn around and blame the writer because it's your fault you know and and on the day you have to you know someone says this lines not working that means you have to rewrite it and and that that I I thought was I learned a lot about what it is to be a writer in the movie and how vulnerable it makes you I learnt a lot about that there is no end to the language of the camera that was to me was the big revelation who knows that how quickly we get set into this you know master shot to shot over the shoulder over the shoulder close-up bing bang bong quit you know fat fancy show every three sit you know whatever it is that the patterns that you find you there are endless endless limitless ways to shoot seen limitless the camera is its own language and if you push yourself and make rules for yourself whereby you can't break which I did on this one it forces you to find new ways to express things with a camera and that for me was a huge revelation when I think you you do become very least that speak for myself set in one's ways so that for me was the big big learning experience great I think for me personally I learn or relearn on every film is that to enjoy the the danger of whatever it is I'm doing this time around Oh nervous I might be about project if anyone's gonna see if it's even gonna be good because I think of every film I've done I've always felt like if it's if it feels like the none to be stupid if it feels like a bad idea or a dangerous idea or something that that I want I won't ever come back from there that's probably worth doing it it's like they're great there's a very particular David Bowie about creativity and and I was creatively fued he says well it's like when you're walking out in the ocean you're walking out and you're walking out and he's just start losing your footing and he can just barely touch the bottom and the water's up to here you're not your side keep getting worried about where the bottom of the ocean isn't it and if you can stand up again this is what I mean when I feel like that creatively guys don't know I'm doing good work and I and I always try to remind myself to feel like that have to enjoy feeling like that that end if I finishes saying I feel like I cover the two easily it feels like it came too easily I get very worried and I try I try and make it a bit more chaotic I try for obstacles of the way or shake it up and then try and find ways of making it more interesting and and yeah just keep like yeah it's just not not good to see you just you know it very easy great metaphor by the way the water of metaphor that you said for you I'm not sure how much it would have to do with this movie particularly it's just basically I had a really good team so I and a wonderful group of actors I had a really good team and and everything that we were doing was fun I mean it was fun to turn Los Angeles back into 19 69 it was fun to be in that world believe me when I did Django Unchained it was not fun being in the antebellum South slavery world every day that was a it was a drag alright but this was this was a lot of fun and so he so I'm not sure how much it has to do with this movie in there or how much it has to do with after doing a few movies I've gotten easier at it I think that I think so it's not really answering your question but I think um I think I have changed a little bit between this movie and the last movie hit late because I think there was a situation where I think before I was a little bit more precious about each scene in its time and and you don't split I mean there was always situations we have to split up a scene and finish it in another day but but that really really shouldn't happen that way unless there is something else so you building up to the right time to shoot a sequence and then once you're doing it you're doing it and that was really kind of Precious about stuff like that and and then all of this and and then in the case of the hateful eight one of the things that was the most important was capturing the weather that was one of the most important things that we were doing is capturing that weather so it's you know and we would never really know what the weather was gonna truly truly be into pretty much a day before so if the Sun was up then we're inside the wagon shooting and if the Sun was doing something else we were in the habit ASHRAE but if it's actually if it's all grey it's this but if actually we actually got the snow that we were looking for then we'd be up on this one mountain alright to do this one sequence and you'd have this situation where like the snow is falling in just the right way you want to do it and it's like Sam Jackson trying to talk himself onto the coach and so you're shooting Sam and all that wonderful snow and that's great but then we might not shoot the other the other side of that for like three weeks or three and a half weeks when we had that kind of snow again now I wasn't used to working that way and Bob Richardson even kind of said to me wow Quentin I'm really proud of you you know you're really kind of you're outside of your comfort zone you're like a well it's what we're doing I mean this is literally what we're doing we're all up here on this mountain in Colorado that to capture this weather and this real snow in this certain kind of way and and I think that carried over on this movie where it was like there were certain things that were important and there were certain shots that we wanted to try to get they were important and there was and when it came to like getting the freeway you're getting Hollywood Boulevard or getting any things like that there was a finite amount of time that we had to do it and so I I didn't get out of my I have gotten out of my own comfort zone about as far as like the almost theatrical integrity of the dramatic scene that we're doing and more it's no it's a it's a movie and you decide that some things are important or more important than others then you would have to readjust it to shoot to capture on film what's the most important to you and long for you what what didn't you learn that you would say from this one way what did you learn about yourself as a director Kitana not them yet again yet I don't mean I don't go by sheet is again I'm don't mean Teresa value Canon yeah so rather than something lofty that I learned I would like to talk about something more practical since he has an alter say that turns how I didn't poop to kill genell parasite that we don't want a location new Tahoe appear on that team or location I took some analysis hasn't Ikuo I don't go to our jungle day von innen you know why could you pull of acetate that icky you could put it on a table wouldn't detective Azerbaijan you to meet Allison and Tommy so for me parasite was a unique set up the DP and I we always loved shooting on locations we were Argo location scouting take a bunch of photos but with parasite 90% of the story happened in those two sets and particularly in the rich house 60% of the narrative once there so for me it was sort of the first time shooting an interior movie I'm gonna join in I met a boy and journey that she was a teacher and a magnetic song unbelievably good honorable equal Galileo and generally recorded his optimum so I never feel comfortable until I completely dissect all the spaces and swallow them whole and have a full mastery of the space otherwise I feel anxious so with parasite I was very worried on how I was gonna cook these spaces together as a scenario doing about it about scenario in the mood Jana done gets a production designer to communicate a change except on one day and that's why as soon as I finished the script I had no choice but to work very closely with the production designer quality job primarily was heightened to go to antique a girl has to walk generally said to retire Chico food going back as I said to that I wasn't in class I usually love to go to the space myself and take a bunch of photos but with this I couldn't do it both sets were completed almost right before kickoff as a visual effect automatic a sauropod surrogate would easily come to be seen on ago in the set designer kotero panama compute Agra peda Mandan reporter said to Hanuman rodella words could see banner take a computer so gaza city a Taliban is led into the Santa Casa botín angled like a military simulation ever seen groans and hesitantly less important so I asked the visual effects team to create a virtual model of the set that reflects the exact design that the production designer was working on so through my computer and through this virtual model I was able to roam around the space choose various lenses and simulate different angles you could wanna put on any geeking gondola on Java and gadget I can get you to become an epic troll sometimes argument ready okay and another challenge was it wasn't it was necessary for the audience to also have full mastery and of three-dimensional geography of this space actually first half the movie is the process of infiltration family one by one because storytelling animals or gondola Thomas acetate Copenhagen to money which appeared geography token gay spicy Kickham Jewish so the first half seems like it's progressing the narrative and it's introducing the characters to the audience but actually at the same time it's educating the audience on the full geography of the rich house as a ku-ku-ku-ku puritans antes de la moda second a prayer so it opened up a chip children swimming goo-goo-goo knows as Provenza would only moody was in tears Arabic or to turn my turn my poopit again I'm in the Kickapoo to the Maximus has hidden to th in England and neutered and greeting akan granite ha it's ok late in an education hug window go to take a single - a ten-mile so the audience have to be fully educated on the space for the second half of the film - just rage in terms of telling the narrative and all the events that explode later on so on the surface you know the film features all these fun dialogue it shows the process of infiltration introduces the fun quarks of each individual character but subconsciously that edge the audience is being introduced and educated on this space and that's something that I paid a lot of attention to during prep there's a sliggoo good chunk of Japan's leg on Ganesh level to go out there kaito-kun edit it as an evolving dongdong physically you know what okay we got it right so now I think I can give at least a 25 minute lecture on how to how the approach to take when you're shooting an interior film inside a very meticulous and complicated space well in terms of educating and in terms of learning and in terms of sharing you are all masters of a form that we all love and we thank you for your creative genius and for your time here thank you [Applause]

Channel: Directors Guild of America

Views: 1,439,262

Keywords: DGA, Meet the Nominees, Theatrical Feature Film, Sam Mendes, 1917, Bong Joon Ho, Parasite, Martin Scorsese, The Irishman, Quentin Tarantino, Once Upon a Time...in Hollywood, Taika Waititi, Jojo Rabbit

Id: oZf5L8nF3xc

Length: 161min 0sec (9660 seconds)

Published: Thu Feb 06 2020

Reddit Comments

[u/SexEatSleepRepeat]

A near three hour interview with titans of the industry. There is a tremendous amount of knowledge and insight throughout this entire thing. Great for background listening or watching!