October 31, 2025 • 29 mins
Emma Stone & Yorgos Lanthimos join the podcast for a live Q&A on their new film Bugonia!
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Episode Transcript
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Speaker 1 (00:01):
Wait up, did you time to go to work? All right?
Can we talk about we get it?
Speaker 2 (00:06):
Get it? Wake up?
Speaker 1 (00:09):
I get it? That get it, that goal with everyone
saying that, mom, next it's tell my father the focus,
the goal that make it, that hit us so well,
that my lit is a movie the way that that
role they say hit him because people, Baby, you know,
I'm making everybody upset because we the rest that we
getting breast and I know.
Speaker 3 (00:23):
We're gonna get bread.
Speaker 4 (00:25):
We're gonna get bread, Gonna get bread, Donna get bread,
gonna get bread.
Speaker 1 (00:33):
M yeah, and then you know him, you love him.
You've marveled at many of the things that he made.
You might have also said, what the fuck you're goal?
Playing themo for the record of the go here? How
(01:01):
are we doing? You too?
Speaker 2 (01:03):
Pretty good? How are you doing?
Speaker 1 (01:05):
I'm fantastic, Like I'm shaking a little bit because it's
always been a dream to kind of like talk to
the both of you, especially after seeing this movie. I
just got a lot of questions to get into you.
For you guys, well, get ready because we got some
hard questions.
Speaker 2 (01:16):
Okay, I'm ready, He's not ready, but I am.
Speaker 3 (01:19):
Yeah.
Speaker 1 (01:20):
Okay, So what I would describe this movie as is
a simmering pot just ready to boil over. So when
it comes to a movie such as this, where there's
so much tension that's building, I want to know the
order of filming this. Was it chronological? And if not,
how do you maintain kind of like the energy that
you're at when you're filming each scene.
Speaker 2 (01:40):
Okay, your movie?
Speaker 5 (01:44):
I mean you try to keep them as chronological as
humanly possible, I think, which of course is not completely
possible because of locations and many different factors. But this
was relatively chronological, at least in the big which is
the majority of the film, and so that definitely helps.
(02:08):
And it's pretty rare to be able to sort of,
you know, see how these scenes are unfolding and go
from there as an actor, And what would you say
about it about maintaining the tension?
Speaker 4 (02:21):
Yeah, I mean it was great because we got to
build the entire house so as a house just we
didn't have good plumbing. It was so James Price, production
designer built the house in the countryside with the basement,
so basically it was like we were on a location
(02:41):
which normally, you know, if you wanted to build it,
he would build a set somewhere in a studio, then
you have to go to do the exteriors. But now
having the actual house at one place and everything enabled
us to do this, you know, more chronologically, and then
you keep track, you know where the story is better
and actors can keep track of you know, their characters
(03:03):
arc and it is better for everyone to do it
this way. But yeah, it's it's rare to be able
to do that.
Speaker 1 (03:11):
Yeah, I mean I felt I got the sense of
watching it that obviously we are on location, and that
gives it more of a textile like you can actually
reach out and touch this set that you're actually at
and I really appreciated that. But something that really impressed
me about your shooting style, your goals, is that you
chose to shoot in thirty five millimeters. VistaVision, which we're
seeing a rise in that one beat after another did
that this year as well. But it gave like the locations,
(03:32):
especially like the enclosed faces, the sense that we're in
a world of their own, and I can like watch
people like walking outside or Jesse riding his bike with
like in this beautiful format, because it almost seems like
we're on the outside looking in like watching the lives
of these people unfold, similar to you know, what happens
at the end. So I want to know from your perspective, like,
what was your reasoning for choosing to shoot Invistavision for
(03:52):
this film? Something that should have been small, but you
kind of made it seem more grander.
Speaker 3 (03:56):
Well you just said it right there.
Speaker 1 (03:58):
I'm pretty sure about them.
Speaker 4 (04:01):
Well, we you know, we had showed a little bit
of Vista Vision on four things. We shot one scene there,
their re animation scene, because it didn't have any dialogue.
And most of the Vista Vision cameras that are that
exist and are working today are extremely loud, so you can't,
like they sound like a sewing machine in the room.
(04:23):
So it's hard to shoot anything, you know, with dialogue.
But because we love the images so much, we Robbie
and I kept like investigating it, and then we discovered this.
Speaker 3 (04:34):
Camera cinematographer, Robbie the cinematographer. Sorry, yeah, you're part of
the team. Welcome on, the cinematographer. Okay, I have to
pay attention. Uh, So we discovered this.
Speaker 4 (04:50):
Camera that will camp, which I mean, I guess you
don't care what it's called. Yes, they will it's and
it's just one in the world that's functioning, and it's
quieter than the really loud ones. So we we tested
that camera.
Speaker 3 (05:08):
We liked it.
Speaker 4 (05:09):
Uh and for the reasons you've described before very eloquently.
You know, the larger format kind of creates this textaposition
with the enclosed environment and you know, the claustrophobic atmosphere.
We decided that because this is a film that's you know,
(05:31):
really focusing on the characters and their journeys and their
their conflict and their.
Speaker 3 (05:42):
What's the other words, no conflict.
Speaker 2 (05:44):
I'm not gonna help you know, I've said that many times.
Speaker 3 (05:48):
We've heard it before.
Speaker 4 (05:48):
Confrontation, thank you.
Speaker 1 (05:53):
You did it.
Speaker 3 (05:56):
You did that a lot.
Speaker 4 (06:01):
So yeah, I just felt that it would be interesting
to make this kind of porstraiture kind of film, like
use this format that's you know, large and has that
such tonality and depth, and when you do these close
ups they feel, you know, quite iconic, and you know,
a lot of the film focuses on that. And then
(06:23):
you have the juxtaposition, which again the form the format
excels in, and you know, that's a more straightforward reason
to use it, Like you go to wide angle shots,
and again the detailed and the tonality and everything just
you know, makes everything more alive. So it was worth
(06:44):
it because it was you know, the camera is quite temperamental.
There'sn't always a love working hard.
Speaker 1 (06:54):
It's like Bruce the Shark and yeas.
Speaker 3 (06:58):
Like another character in the in the room.
Speaker 1 (07:02):
I guess you can get a character credit in the movie.
Speaker 6 (07:04):
Yeah, the next time we watch it.
Speaker 3 (07:05):
I mean, I think we do have it in there.
Speaker 1 (07:07):
See. It pays to know the name of the camera.
Now we can put it up the see. And I
was really intrigued with you saying that it was only
one of those cameras in the world. I can only
imagine like the headache it is tracking that thing down
and hoping that it works for this film. It must
have been pretty crazy.
Speaker 3 (07:22):
It was right here and it was in America.
Speaker 4 (07:25):
But yeah, I think you know, the time that we
showed poor things, it wasn't working very well, and they
did a lot of work on it. So hence the
three years of researching if there is another one. And
then it was like a fortunate timing that you know,
(07:46):
they got the camera.
Speaker 3 (07:47):
Working most of the times so that we could use it.
Speaker 1 (07:53):
It's like it had a cool down moment. It has
a two year cool down.
Speaker 7 (07:55):
Yeah.
Speaker 1 (07:58):
Well, I want to throw this question over to you
because I feel like the highlight of this film is
the teta tet you have with Jesse Flynn's character, Like
you guys just go back and forth so much, and
it's so intense, and it reminded me a lot of
the relationship between Clarice and Hannibal Lecter and side of
the Lambs. I want to know, was that a north Star?
And if so, how do you navigate like kind of
like doing something where in that case those lines are
(08:22):
definitely drawn, like Hannibal Lecter is the villain, she's the
good person. But in this one, you really don't know
who's on top and who's doing what, and so how
do you navigate that?
Speaker 2 (08:30):
I wish I had thought of that. I never thought
of that at all. Oh, not even once. It wasn't
a north Star, And now I'm like, wow, that would
have been great.
Speaker 1 (08:36):
Actually I wanted to think about that would have helped
a lot.
Speaker 2 (08:38):
Thank you. No, it was.
Speaker 5 (08:41):
I mean so much of it was just on the
page in Will Tracy's script. It was one of the
best things about the experience of reading it.
Speaker 2 (08:48):
Was that.
Speaker 5 (08:49):
I It was a very like is he right is she?
And also who is the villain? They kind of both
are and in some ways both aren't because the points
they're making are I mean, especially for him, a lot
of his points sound delusional, but also they do for
her too, because she's speaking in this sort of corporate
(09:12):
you know, in these platitudes, and there is something kind
of slippery about the way that she's dealing with with him.
But he's also such a raw nerve that I don't
know it was in there. And then Jesse is just
such an incredible actor. It was just so much fun
to figure out, you know, these two people that are
kind of they're both convinced that they're saving the world,
(09:34):
just in completely different ways, right, And so that.
Speaker 2 (09:39):
Was that the North Star really with the with the
script and living.
Speaker 1 (09:43):
Up to that, Well, that's great and I'm glad that
you said that because now I get to go to
a question that I had kind of like later on
when it comes to your performance, and that is that
for a large portion of this movie, and I feel
like as soon as I saw the trailer, there was
like an automatic distrust of your character because of your
ties to corporate America, and there's already like a distrust
of people who work in corporate America. So immediately you
(10:03):
just go, oh, she's totally an alien because like, you know,
they're kind of the same, right, Yeah, But so I
want to know, like for your goals, and you like,
what is it like like filming and what is it
like playing a character who's starting an uphill battle against
the audience and like playing into those kind of like
stereotypes and things.
Speaker 5 (10:21):
It's really fun or I found it really fun. I
don't know, you know, because she's so quickly post being
at oxolet when you see her recording the video or
you know, talking to to Corey about the five thirty
thing or whatever that is.
Speaker 2 (10:37):
You see all of that at the beginning, and then
she so.
Speaker 5 (10:39):
Quickly is in this totally flipped dynamic or she's in
the basement where there's not you know, she doesn't have.
Speaker 2 (10:45):
The ability to sort of move freely at all with
anything except.
Speaker 5 (10:51):
For the way that she's speaking to him and the
way that she's trying to contend with him. And then
there's also the additional thing that I mean, you're recording this,
so I guess I don't put that part out, but
you guys have seen it.
Speaker 2 (11:01):
There's the other thing. She knows.
Speaker 5 (11:09):
All of that was just so much fun to kind
of try to balance and the type rope of walking
that was really helpful because of her corporate, you know background.
Speaker 2 (11:18):
It was like, maybe she just talks this way. Yeah,
maybe this is just who she is or maybe not. Yeah,
what about for you? What do you think? He did say?
The question was for both of us.
Speaker 4 (11:29):
Yes, I was thinking something totally different though while you're
speaking that, you know, because you say, like, don't put
that out because she knows, and you know, there was
this journalist that yeah, I told you that the other
day that asked, so tell me, oh yeah, and don't
(11:49):
tell me it's up to me?
Speaker 3 (11:52):
Did she go crazy? And that all that's in her head?
Speaker 2 (11:57):
Like the ending m fun way to think about it.
Speaker 1 (12:01):
So we just saw a movie. Now we don't know
what we just saw. Yeah, So I.
Speaker 3 (12:05):
Went like, so, isn't that great? Though?
Speaker 4 (12:08):
If I had told you it's up to you and
you came up with that and instead of me saying like, no,
that's not that's not how it is, you should think
of it that way. And this you created this beautiful
thing that I never thought of, And it's possible, Like
if you go back to the film and say, okay,
now look at it with.
Speaker 3 (12:25):
This person's perspective, does it work?
Speaker 2 (12:28):
It works?
Speaker 4 (12:29):
It could be like and that's a beautiful thing, you
know about making you know, these kind of films and
you know, construct them, construct them in a way that yes,
it's precise and has a tone and feels you know,
strong and engaging. But at the same time, you know,
(12:49):
it leaves all.
Speaker 3 (12:50):
These gap gaps that you have to like.
Speaker 4 (12:56):
Fill in yourself, and that changes according to who you
are and your perception about things and your experiences and
the way your mind works.
Speaker 3 (13:06):
And it's a beautiful thing.
Speaker 4 (13:07):
So it's funny like when people, you know, think that
we're trying to avoid giving specific answers because I don't know, like,
we don't like you, so we're not gonna tell you
the truth.
Speaker 3 (13:21):
You know, it's not that.
Speaker 4 (13:22):
It's just like, the beautiful thing is that that you
will we give it to you.
Speaker 3 (13:27):
Then we made something. Yes, we thought she was that,
but then this.
Speaker 4 (13:30):
Other person thought something different and it works and it's
still beautiful, Like, so why not have that?
Speaker 1 (13:38):
I think ambiguity is the beautiful thing just about life.
And it's definitely reflected whenever we see movies, right, and
it's myself who makes movie content for a living, and
I put my opinions out on film. It goes exactly
what you're saying. I can say that I love it,
but my goal is not to tell you to see
something because I love it. It's to be like I
love it, you might too, and then they can form
those opinions on their own. I did love Pagonia.
Speaker 4 (13:58):
By the way, it would be very awkward conversation.
Speaker 1 (14:06):
It would be very awkward. Good thing it's not. Uh So,
getting back into it. I want to talk to you
about kind of like your performance and kind of like
also that ambiguity and everything. I was in love with
your facial tics in this. In this film, one could
say that they're very telling. Others can say what's going
on here, that's just how she acts. I want to
(14:26):
know were these facial tics kind of like curted. Did
you think about these things or was this you naturally
just in the moment of it all.
Speaker 5 (14:35):
I have I do have those, but I yes, there
were there were definitely moments this. I had never played
a character where I thought about what the audience would
think of the character upon the second time watching it,
and it was really interesting.
Speaker 2 (14:52):
So there were times that we.
Speaker 5 (14:53):
Talked about little little moments and additions and things that
watching it the second time might feel a little different.
But you could just be like, I guess that's just
how she is the first time.
Speaker 2 (15:06):
But yeah, no, I do.
Speaker 5 (15:07):
I do definitely have a good amount of facial tics
that we navigate throughout the films.
Speaker 2 (15:13):
That we've played.
Speaker 1 (15:14):
So if you distrust Michelle, they're distrusting you, is what
you're saying.
Speaker 2 (15:18):
No, it's just you know, it's an unconscious thing. We've
all got them, you know. Of course, I just mine.
Speaker 5 (15:25):
Sometimes show up the size of like a football field
because of the projector you know, anyone.
Speaker 1 (15:33):
I think like, in this format, I think it goes
exactly what we were talking about earlier, right, Like what
we're seeing is that we're seeing these whole entire worlds
in one shot, and I feel like your performance creates
an entire world because we don't know what you're thinking,
we don't know what your temperament is, So all those
facial ticks, I'm looking very closely, and you're just like.
Speaker 2 (15:50):
That's just me. No, no, no, no, it's not.
Speaker 5 (15:53):
No, some of that is, I promise there's there's a
thought behind it, but it just ends on the one.
You'd have to point out the ones you're talking and
I'll tell you that.
Speaker 1 (16:01):
Was just we'll talk about it off one. Obviously, there's
a lot of conversation around you shaving your head for
this phone. There was whole screenings where people shave their heads.
Have you guys seen those? Wait? Wait, wait yet? Why?
Speaker 2 (16:17):
Hey? Yeah, how do you feel? Isn't it amazing?
Speaker 5 (16:24):
And can you I couldn't stop rubbing it every second
of the day.
Speaker 7 (16:28):
Yeah, that's the best. Ye Oh, I'm so good.
Speaker 2 (16:44):
Welcome freedom.
Speaker 1 (16:48):
Well that's that's an amazing story. But what I want
to know is between you, no, if you're good, No,
I really enjoy that. I was gonna say, I wish
there's still the cameras around. I was just gonna say,
we should have got a camera for that. We could
have like documented the whole thing, you know, but.
Speaker 2 (17:08):
We got it.
Speaker 1 (17:08):
However, YouTube did document it. There's a moment in the
movie where you get your head shaved in the car,
and I just want to know, was that in real time?
What's the anatomy of filming something like that, what's the choreography? Like,
it's a one shot deal, so I just want to
know kind of like what went into that pivotal scene.
Speaker 5 (17:24):
Yeah, it was in real time, but we ended up
setting up for you ended upsetting it setting it. I
didn't set them up four cameras to make sure that
it was captured. But the thing that was tough about
that was I'm known for, you know, a solid year
and a half.
Speaker 2 (17:39):
I was gonna shave my head. I was prepared, but
when you're.
Speaker 5 (17:42):
Setting up for film cameras things, you know, it's like
we're gonna need another thirty minutes, We're gonna.
Speaker 2 (17:48):
Need another hour.
Speaker 5 (17:49):
And I was just pacing back and forth, and you know,
the trailer going like, oh my.
Speaker 2 (17:54):
God, is it time? Is it time to shave my head?
Speaker 5 (17:56):
It's like in about forty five minutes, but this one
is being and I was just and that's when I
started to sort of freak out. But then it was
great because you know, I just had to lay down
and stay still.
Speaker 1 (18:07):
Okay, so you have the easy issue, that was it.
Speaker 2 (18:09):
And then it was and then it was freedom.
Speaker 1 (18:11):
Nice. Yeah, yeo, because tell me what it was like
in your mindset kind of like looking through that camera
and being like, we gotta get this right, we gotta
get this right, because again, you only have kind of
one shot at this and I, like you just said,
it was a lot of preparation that went into it.
So talking about your thought process as a director not
wanting to permanently mess up in the.
Speaker 3 (18:27):
Hair, well, it was nerve wracking.
Speaker 4 (18:30):
It was like we had to practice before with a
specific trimmer. We practice on wigs with real hair, how
it cuts and how it needs to be done. But
then the hand movement need to feel like, you know,
kind of natural and kind of clumsy because he's doing
(18:50):
it like quickly, and you know, Dawn's not necessarily the
most proficient.
Speaker 3 (18:56):
At cutting hair. As he himself says, it's not coming off.
Speaker 4 (19:01):
So yeah, I mean it was we only had one
chance to basically get it, and then we were preparing
with like extra hair and like in case we needed
to put like some hair on.
Speaker 1 (19:13):
And fake it if it didn't go well.
Speaker 4 (19:16):
And there were these wigs that we have looked terrible
if you had to do it on a wig like
but thankfully, yeah, like the cameras worked and we captured
it and it looks good.
Speaker 2 (19:29):
Yeah, and she.
Speaker 3 (19:30):
Looks a head.
Speaker 1 (19:31):
By the way, thanks guys, would you rocket again, just
like out on the street, just like this is me now,
I think you can.
Speaker 2 (19:40):
Maybe some days, never say never.
Speaker 5 (19:42):
I mean we got to shave it every two days
for months, so it really just stayed stayed super super shaved,
and I felt like I had the experience for.
Speaker 1 (19:49):
Yeah, yeah, hell, yeah, excellent, let's do it. Well that's
not right now, not right now, Okay, I'm surprised I
brought my clippers with it. Was that like one of
the first scenes that you shot because you are balled
for a majority of the film or did Was there
like a couple of things that you shot with hair
and then you jumped into it later well, all.
Speaker 5 (20:08):
Of the beginning the Michelle at the beginning in Oxalith
and everything that was I had hair nice and then yeah,
I think it was about two weeks maybe into shooting.
Speaker 2 (20:18):
Yeah, like a script wise story wise that.
Speaker 1 (20:20):
Yeah, we did it.
Speaker 2 (20:21):
Yeah.
Speaker 1 (20:21):
The reason why I asked is because once like this
is going to get nominated for a ton of Oscars,
like that hair and makeup is gonna go crazy because
like when you put on the hair after and the
hair before they look the same, you know, so you
know it's really cool how.
Speaker 5 (20:33):
Crazy like matches right' so glad? Okay, yes, we'll tell
toon Torsten was our hair maker designer.
Speaker 2 (20:42):
Very healthy. Okay, yes, So we.
Speaker 1 (20:47):
Talked about this a little bit in our virtual interview
that we did about how usually going into a yor
gross production, there's like games and exercises and things of
that sort. But you didn't get to do that this
time around because you guys were just coming off of
Into Kindness, which you're you're just popping them out, just saying.
Speaker 4 (21:04):
Well, I just said the other take, I'd like to
take a break after having made three films back to
back and it has blown up, like I said, I'm
like retiring, like I'm you know, like it's just said,
I need to.
Speaker 3 (21:17):
Break, like going a holiday.
Speaker 4 (21:21):
You know, I haven't stopped for like six years or whatever,
Like give me a break.
Speaker 1 (21:28):
I have a TikTok idea for you. Use the Hamilton soundtrack,
the NonStop song do you write like you're running out
of time and it's like all your movies back to
back and that's you right now, Yeah, Alexander Hamilton, but
coming right off of kinds of Kindness and going into
this Funny enough, there is a like story and Kinds
of Kindness that has to do with identity and deception
(21:50):
and kind of like not knowing who is who? Did
you carry a little bit of that from Kinds of
Kindness into that? Using that overlap is almost a superpower
for Pagonia.
Speaker 5 (21:59):
No, that's an the other one of those that you're
putting together, and I'm very grateful on.
Speaker 2 (22:06):
It was.
Speaker 5 (22:06):
I mean, having worked with Jesse before and you're so right.
In the second story of Kinds of Kindness, there is
like a real kind of a strange overlap that happens
where he is constantly accusing my character of not being
who she says she is right and having to prove
that she is. It has a kind of a spiritual
(22:29):
cousin moment to Pogonia. And so I think, just having
done Kinds of Kindness together, and it's three short films together,
it felt like this was our fourth movie. So not
having rehearsal for this was actually kind of okay because
we had just done all of these different characters together. Yeah, exactly,
(22:52):
And there was so much dialogue in this particular film
that it ended up just being a lot of running
lines and just making sure it was within us so
that we weren't searching for it. Yeah, but typically our
rehearsal process is very fun and very silly.
Speaker 1 (23:09):
Well, it seems like you guys were having a lot
of fun and silly times on this movie. So you
got it already. It's it's all good.
Speaker 2 (23:14):
Yeah.
Speaker 1 (23:15):
I'm a professional overthinker. It's literally in my bios. So
that's why I like, I told you I was gonna
hit you with a heart.
Speaker 5 (23:19):
I love it. It's incredible. I'm a professional. Should be
thinking more and maybe we could meet in the middle.
Speaker 1 (23:27):
Listen, this is how a friendship forms, right, this is right,
this is how it happens. I saw fingers on the side.
How much time do we have because we can do
this all day? Five minutes? Oh yes, good, five minutes
of playtime. Oh boy. So let's talk about the logistics
of the dinner scene and like crawling over the table.
I did a trailer reaction to that, and the first
scene that I feel like I had to show was
(23:48):
Jesse running over that table, exackling you to the ground.
Your talk to me about kind of like the preparation
for that was there a stunt person. I need to
know everything about this.
Speaker 4 (23:58):
Yeah, well there was a a a stunt coordinator and
stun people and it was very choreographed.
Speaker 3 (24:07):
So we started with ideas how it could be and
I think.
Speaker 4 (24:14):
At some point I thought that it would be interesting
for Jesse to just like go because I think we
we're trying to find a way how do they you know,
how does he go close and you know there's no
reaction and so that it's immediate and impactful. So we
came up with that idea. And I think in general,
with all the fight action scenes, violence scenes or whatever
(24:40):
there's there's stunt people, would you know, run it through
then show it to the actors, do it like, you know,
slower and softer until you know the time was right
to just go for it. And I think we did
that like a couple of times and you know it
worked really well.
Speaker 3 (25:02):
Yeah.
Speaker 1 (25:02):
Yeah, And you said there was a stunt coordinator, So
you're saying that's Emma getting tackled and being thrown onto
the ground in that scene.
Speaker 4 (25:10):
In Yeah, in most of the shots, it's especially the
one from the back, it was you and we had
all these mattresses.
Speaker 3 (25:18):
In the back and you know, there might be moments
when there's a stunt person, like when.
Speaker 5 (25:25):
When there was full contact at full speed, it was
a stunt person because I've broken seven bones and I
have a.
Speaker 1 (25:31):
Real feeling.
Speaker 5 (25:34):
In my life before I was thirty, I've broken seven
bones and I have a real like I'm going to
break a bone if there's like crazy impact. I think
I have bone density issues and apparently I'm supposed to
go get a DEXAS scan. But yeah, so the full
speed was was amazing. Devil Yeah, with a really really
(25:55):
awesome prosthetic old cap that I was like, I guess
you could do that now.
Speaker 1 (26:02):
Listen. I saw that and it's so impressive just how
that scene was put together. And my first thought was
like damn, it was chasing it like a champ like
you know, So that was that was incredible.
Speaker 5 (26:11):
Yeah, the tackle early on in the when they kidnapped me,
that was for sure of me being tackled. And I
definitely did not make Jesse feel better about that because I.
Speaker 2 (26:18):
Was like, you know, I really very easily.
Speaker 5 (26:20):
So when you talk to me like I really freak
out and he's like, oh my god, okay, very helpful.
Speaker 2 (26:31):
I'm not an athlete.
Speaker 1 (26:33):
We'll very happy to see that you're all right. All right,
So last question. I don't want to wrap this up with.
I'm sure you've gotten this question a lot, but I
haven't seen it, and I'm very interested here. What is it?
What is a conspiracy that no one can tell you
that is not real?
Speaker 6 (26:54):
I can tell you that I want to talk about publicly.
You're really struggling with this, aren't you, Just like it's
the moon Land?
Speaker 2 (27:08):
No, what's a conspiracy? It's not real?
Speaker 3 (27:12):
And we're at a time.
Speaker 1 (27:15):
I'll tell your mom, what's your Day's Hot Chicken? Is
a front? You guys like Day's Hot Chicken?
Speaker 2 (27:21):
What's Dave's Hot Chicken?
Speaker 1 (27:22):
You? If you if you're in l A. And I've
seen it pop up all around the country now, the
hot chicken spots have just been popping up all over.
It's only in the last like four years. And it's
like who gave a loan to like twenty different hot
chicken joints? Right, there's days hot Chicken, Chicks, hot chicken.
Speaker 2 (27:38):
The mom.
Speaker 1 (27:39):
It could be it could be the mob, it could
be drugs, it could be something.
Speaker 4 (27:45):
Like crime.
Speaker 1 (27:50):
Investigation. It's breaking bad, is what it is.
Speaker 7 (27:53):
What it is.
Speaker 1 (27:56):
So I'm just saying your day's are numbered. I'm just gonna.
Speaker 3 (28:06):
I wish I memorized that.
Speaker 4 (28:08):
But like Jerkin, our composer went into a runt the
other day about like something with McDonald's and the big
Mac thing is like here and in England is different,
and like there's something missing in between.
Speaker 3 (28:24):
There's like a.
Speaker 4 (28:25):
Whole thing like I wish I could have memorized to
tell you it was a very funny. But yeah, no,
I'm sorry, but maybe you can find it online somewhere.
Jerkin Fandricks talking about McDonald's theory.
Speaker 2 (28:38):
Just look it up.
Speaker 1 (28:39):
So many people are like honestly double thinking their trip
to McDonald's after.
Speaker 2 (28:44):
Oh, we have to know what it is.
Speaker 1 (28:45):
Yeah, well check it out, okay, for sure? For sure?
All right, So I believe we're out of time, so
you're off the hook for your conspiracy theories today.
Speaker 2 (28:53):
I'm gonna keep thinking.
Speaker 1 (28:54):
We'll keep thinking about it. But thank you so much
for talking to me about this movie. It was such
a pleasure to have you guys. Thank you so much.
If bifte you guys were coming out in there listening
a bill, right, and I
Wait up, did you time to go to work? All right?
Can we talk about we get it?
Speaker 2 (00:06):
Get it? Wake up?
Speaker 1 (00:09):
I get it? That get it, that goal with everyone
saying that, mom, next it's tell my father the focus,
the goal that make it, that hit us so well,
that my lit is a movie the way that that
role they say hit him because people, Baby, you know,
I'm making everybody upset because we the rest that we
getting breast and I know.
Speaker 3 (00:23):
We're gonna get bread.
Speaker 4 (00:25):
We're gonna get bread, Gonna get bread, Donna get bread,
gonna get bread.
Speaker 1 (00:33):
M yeah, and then you know him, you love him.
You've marveled at many of the things that he made.
You might have also said, what the fuck you're goal?
Playing themo for the record of the go here? How
(01:01):
are we doing? You too?
Speaker 2 (01:03):
Pretty good? How are you doing?
Speaker 1 (01:05):
I'm fantastic, Like I'm shaking a little bit because it's
always been a dream to kind of like talk to
the both of you, especially after seeing this movie. I
just got a lot of questions to get into you.
For you guys, well, get ready because we got some
hard questions.
Speaker 2 (01:16):
Okay, I'm ready, He's not ready, but I am.
Speaker 3 (01:19):
Yeah.
Speaker 1 (01:20):
Okay, So what I would describe this movie as is
a simmering pot just ready to boil over. So when
it comes to a movie such as this, where there's
so much tension that's building, I want to know the
order of filming this. Was it chronological? And if not,
how do you maintain kind of like the energy that
you're at when you're filming each scene.
Speaker 2 (01:40):
Okay, your movie?
Speaker 5 (01:44):
I mean you try to keep them as chronological as
humanly possible, I think, which of course is not completely
possible because of locations and many different factors. But this
was relatively chronological, at least in the big which is
the majority of the film, and so that definitely helps.
(02:08):
And it's pretty rare to be able to sort of,
you know, see how these scenes are unfolding and go
from there as an actor, And what would you say
about it about maintaining the tension?
Speaker 4 (02:21):
Yeah, I mean it was great because we got to
build the entire house so as a house just we
didn't have good plumbing. It was so James Price, production
designer built the house in the countryside with the basement,
so basically it was like we were on a location
(02:41):
which normally, you know, if you wanted to build it,
he would build a set somewhere in a studio, then
you have to go to do the exteriors. But now
having the actual house at one place and everything enabled
us to do this, you know, more chronologically, and then
you keep track, you know where the story is better
and actors can keep track of you know, their characters
(03:03):
arc and it is better for everyone to do it
this way. But yeah, it's it's rare to be able
to do that.
Speaker 1 (03:11):
Yeah, I mean I felt I got the sense of
watching it that obviously we are on location, and that
gives it more of a textile like you can actually
reach out and touch this set that you're actually at
and I really appreciated that. But something that really impressed
me about your shooting style, your goals, is that you
chose to shoot in thirty five millimeters. VistaVision, which we're
seeing a rise in that one beat after another did
that this year as well. But it gave like the locations,
(03:32):
especially like the enclosed faces, the sense that we're in
a world of their own, and I can like watch
people like walking outside or Jesse riding his bike with
like in this beautiful format, because it almost seems like
we're on the outside looking in like watching the lives
of these people unfold, similar to you know, what happens
at the end. So I want to know from your perspective, like,
what was your reasoning for choosing to shoot Invistavision for
(03:52):
this film? Something that should have been small, but you
kind of made it seem more grander.
Speaker 3 (03:56):
Well you just said it right there.
Speaker 1 (03:58):
I'm pretty sure about them.
Speaker 4 (04:01):
Well, we you know, we had showed a little bit
of Vista Vision on four things. We shot one scene there,
their re animation scene, because it didn't have any dialogue.
And most of the Vista Vision cameras that are that
exist and are working today are extremely loud, so you can't,
like they sound like a sewing machine in the room.
(04:23):
So it's hard to shoot anything, you know, with dialogue.
But because we love the images so much, we Robbie
and I kept like investigating it, and then we discovered this.
Speaker 3 (04:34):
Camera cinematographer, Robbie the cinematographer. Sorry, yeah, you're part of
the team. Welcome on, the cinematographer. Okay, I have to
pay attention. Uh, So we discovered this.
Speaker 4 (04:50):
Camera that will camp, which I mean, I guess you
don't care what it's called. Yes, they will it's and
it's just one in the world that's functioning, and it's
quieter than the really loud ones. So we we tested
that camera.
Speaker 3 (05:08):
We liked it.
Speaker 4 (05:09):
Uh and for the reasons you've described before very eloquently.
You know, the larger format kind of creates this textaposition
with the enclosed environment and you know, the claustrophobic atmosphere.
We decided that because this is a film that's you know,
(05:31):
really focusing on the characters and their journeys and their
their conflict and their.
Speaker 3 (05:42):
What's the other words, no conflict.
Speaker 2 (05:44):
I'm not gonna help you know, I've said that many times.
Speaker 3 (05:48):
We've heard it before.
Speaker 4 (05:48):
Confrontation, thank you.
Speaker 1 (05:53):
You did it.
Speaker 3 (05:56):
You did that a lot.
Speaker 4 (06:01):
So yeah, I just felt that it would be interesting
to make this kind of porstraiture kind of film, like
use this format that's you know, large and has that
such tonality and depth, and when you do these close
ups they feel, you know, quite iconic, and you know,
a lot of the film focuses on that. And then
(06:23):
you have the juxtaposition, which again the form the format
excels in, and you know, that's a more straightforward reason
to use it, Like you go to wide angle shots,
and again the detailed and the tonality and everything just
you know, makes everything more alive. So it was worth
(06:44):
it because it was you know, the camera is quite temperamental.
There'sn't always a love working hard.
Speaker 1 (06:54):
It's like Bruce the Shark and yeas.
Speaker 3 (06:58):
Like another character in the in the room.
Speaker 1 (07:02):
I guess you can get a character credit in the movie.
Speaker 6 (07:04):
Yeah, the next time we watch it.
Speaker 3 (07:05):
I mean, I think we do have it in there.
Speaker 1 (07:07):
See. It pays to know the name of the camera.
Now we can put it up the see. And I
was really intrigued with you saying that it was only
one of those cameras in the world. I can only
imagine like the headache it is tracking that thing down
and hoping that it works for this film. It must
have been pretty crazy.
Speaker 3 (07:22):
It was right here and it was in America.
Speaker 4 (07:25):
But yeah, I think you know, the time that we
showed poor things, it wasn't working very well, and they
did a lot of work on it. So hence the
three years of researching if there is another one. And
then it was like a fortunate timing that you know,
(07:46):
they got the camera.
Speaker 3 (07:47):
Working most of the times so that we could use it.
Speaker 1 (07:53):
It's like it had a cool down moment. It has
a two year cool down.
Speaker 7 (07:55):
Yeah.
Speaker 1 (07:58):
Well, I want to throw this question over to you
because I feel like the highlight of this film is
the teta tet you have with Jesse Flynn's character, Like
you guys just go back and forth so much, and
it's so intense, and it reminded me a lot of
the relationship between Clarice and Hannibal Lecter and side of
the Lambs. I want to know, was that a north Star?
And if so, how do you navigate like kind of
like doing something where in that case those lines are
(08:22):
definitely drawn, like Hannibal Lecter is the villain, she's the
good person. But in this one, you really don't know
who's on top and who's doing what, and so how
do you navigate that?
Speaker 2 (08:30):
I wish I had thought of that. I never thought
of that at all. Oh, not even once. It wasn't
a north Star, And now I'm like, wow, that would
have been great.
Speaker 1 (08:36):
Actually I wanted to think about that would have helped
a lot.
Speaker 2 (08:38):
Thank you. No, it was.
Speaker 5 (08:41):
I mean so much of it was just on the
page in Will Tracy's script. It was one of the
best things about the experience of reading it.
Speaker 2 (08:48):
Was that.
Speaker 5 (08:49):
I It was a very like is he right is she?
And also who is the villain? They kind of both
are and in some ways both aren't because the points
they're making are I mean, especially for him, a lot
of his points sound delusional, but also they do for
her too, because she's speaking in this sort of corporate
(09:12):
you know, in these platitudes, and there is something kind
of slippery about the way that she's dealing with with him.
But he's also such a raw nerve that I don't
know it was in there. And then Jesse is just
such an incredible actor. It was just so much fun
to figure out, you know, these two people that are
kind of they're both convinced that they're saving the world,
(09:34):
just in completely different ways, right, And so that.
Speaker 2 (09:39):
Was that the North Star really with the with the
script and living.
Speaker 1 (09:43):
Up to that, Well, that's great and I'm glad that
you said that because now I get to go to
a question that I had kind of like later on
when it comes to your performance, and that is that
for a large portion of this movie, and I feel
like as soon as I saw the trailer, there was
like an automatic distrust of your character because of your
ties to corporate America, and there's already like a distrust
of people who work in corporate America. So immediately you
(10:03):
just go, oh, she's totally an alien because like, you know,
they're kind of the same, right, Yeah, But so I
want to know, like for your goals, and you like,
what is it like like filming and what is it
like playing a character who's starting an uphill battle against
the audience and like playing into those kind of like
stereotypes and things.
Speaker 5 (10:21):
It's really fun or I found it really fun. I
don't know, you know, because she's so quickly post being
at oxolet when you see her recording the video or
you know, talking to to Corey about the five thirty
thing or whatever that is.
Speaker 2 (10:37):
You see all of that at the beginning, and then
she so.
Speaker 5 (10:39):
Quickly is in this totally flipped dynamic or she's in
the basement where there's not you know, she doesn't have.
Speaker 2 (10:45):
The ability to sort of move freely at all with
anything except.
Speaker 5 (10:51):
For the way that she's speaking to him and the
way that she's trying to contend with him. And then
there's also the additional thing that I mean, you're recording this,
so I guess I don't put that part out, but
you guys have seen it.
Speaker 2 (11:01):
There's the other thing. She knows.
Speaker 5 (11:09):
All of that was just so much fun to kind
of try to balance and the type rope of walking
that was really helpful because of her corporate, you know background.
Speaker 2 (11:18):
It was like, maybe she just talks this way. Yeah,
maybe this is just who she is or maybe not. Yeah,
what about for you? What do you think? He did say?
The question was for both of us.
Speaker 4 (11:29):
Yes, I was thinking something totally different though while you're
speaking that, you know, because you say, like, don't put
that out because she knows, and you know, there was
this journalist that yeah, I told you that the other
day that asked, so tell me, oh yeah, and don't
(11:49):
tell me it's up to me?
Speaker 3 (11:52):
Did she go crazy? And that all that's in her head?
Speaker 2 (11:57):
Like the ending m fun way to think about it.
Speaker 1 (12:01):
So we just saw a movie. Now we don't know
what we just saw. Yeah, So I.
Speaker 3 (12:05):
Went like, so, isn't that great? Though?
Speaker 4 (12:08):
If I had told you it's up to you and
you came up with that and instead of me saying like, no,
that's not that's not how it is, you should think
of it that way. And this you created this beautiful
thing that I never thought of, And it's possible, Like
if you go back to the film and say, okay,
now look at it with.
Speaker 3 (12:25):
This person's perspective, does it work?
Speaker 2 (12:28):
It works?
Speaker 4 (12:29):
It could be like and that's a beautiful thing, you
know about making you know, these kind of films and
you know, construct them, construct them in a way that yes,
it's precise and has a tone and feels you know,
strong and engaging. But at the same time, you know,
(12:49):
it leaves all.
Speaker 3 (12:50):
These gap gaps that you have to like.
Speaker 4 (12:56):
Fill in yourself, and that changes according to who you
are and your perception about things and your experiences and
the way your mind works.
Speaker 3 (13:06):
And it's a beautiful thing.
Speaker 4 (13:07):
So it's funny like when people, you know, think that
we're trying to avoid giving specific answers because I don't know, like,
we don't like you, so we're not gonna tell you
the truth.
Speaker 3 (13:21):
You know, it's not that.
Speaker 4 (13:22):
It's just like, the beautiful thing is that that you
will we give it to you.
Speaker 3 (13:27):
Then we made something. Yes, we thought she was that,
but then this.
Speaker 4 (13:30):
Other person thought something different and it works and it's
still beautiful, Like, so why not have that?
Speaker 1 (13:38):
I think ambiguity is the beautiful thing just about life.
And it's definitely reflected whenever we see movies, right, and
it's myself who makes movie content for a living, and
I put my opinions out on film. It goes exactly
what you're saying. I can say that I love it,
but my goal is not to tell you to see
something because I love it. It's to be like I
love it, you might too, and then they can form
those opinions on their own. I did love Pagonia.
Speaker 4 (13:58):
By the way, it would be very awkward conversation.
Speaker 1 (14:06):
It would be very awkward. Good thing it's not. Uh So,
getting back into it. I want to talk to you
about kind of like your performance and kind of like
also that ambiguity and everything. I was in love with
your facial tics in this. In this film, one could
say that they're very telling. Others can say what's going
on here, that's just how she acts. I want to
(14:26):
know were these facial tics kind of like curted. Did
you think about these things or was this you naturally
just in the moment of it all.
Speaker 5 (14:35):
I have I do have those, but I yes, there
were there were definitely moments this. I had never played
a character where I thought about what the audience would
think of the character upon the second time watching it,
and it was really interesting.
Speaker 2 (14:52):
So there were times that we.
Speaker 5 (14:53):
Talked about little little moments and additions and things that
watching it the second time might feel a little different.
But you could just be like, I guess that's just
how she is the first time.
Speaker 2 (15:06):
But yeah, no, I do.
Speaker 5 (15:07):
I do definitely have a good amount of facial tics
that we navigate throughout the films.
Speaker 2 (15:13):
That we've played.
Speaker 1 (15:14):
So if you distrust Michelle, they're distrusting you, is what
you're saying.
Speaker 2 (15:18):
No, it's just you know, it's an unconscious thing. We've
all got them, you know. Of course, I just mine.
Speaker 5 (15:25):
Sometimes show up the size of like a football field
because of the projector you know, anyone.
Speaker 1 (15:33):
I think like, in this format, I think it goes
exactly what we were talking about earlier, right, Like what
we're seeing is that we're seeing these whole entire worlds
in one shot, and I feel like your performance creates
an entire world because we don't know what you're thinking,
we don't know what your temperament is, So all those
facial ticks, I'm looking very closely, and you're just like.
Speaker 2 (15:50):
That's just me. No, no, no, no, it's not.
Speaker 5 (15:53):
No, some of that is, I promise there's there's a
thought behind it, but it just ends on the one.
You'd have to point out the ones you're talking and
I'll tell you that.
Speaker 1 (16:01):
Was just we'll talk about it off one. Obviously, there's
a lot of conversation around you shaving your head for
this phone. There was whole screenings where people shave their heads.
Have you guys seen those? Wait? Wait, wait yet? Why?
Speaker 2 (16:17):
Hey? Yeah, how do you feel? Isn't it amazing?
Speaker 5 (16:24):
And can you I couldn't stop rubbing it every second
of the day.
Speaker 7 (16:28):
Yeah, that's the best. Ye Oh, I'm so good.
Speaker 2 (16:44):
Welcome freedom.
Speaker 1 (16:48):
Well that's that's an amazing story. But what I want
to know is between you, no, if you're good, No,
I really enjoy that. I was gonna say, I wish
there's still the cameras around. I was just gonna say,
we should have got a camera for that. We could
have like documented the whole thing, you know, but.
Speaker 2 (17:08):
We got it.
Speaker 1 (17:08):
However, YouTube did document it. There's a moment in the
movie where you get your head shaved in the car,
and I just want to know, was that in real time?
What's the anatomy of filming something like that, what's the choreography? Like,
it's a one shot deal, so I just want to
know kind of like what went into that pivotal scene.
Speaker 5 (17:24):
Yeah, it was in real time, but we ended up
setting up for you ended upsetting it setting it. I
didn't set them up four cameras to make sure that
it was captured. But the thing that was tough about
that was I'm known for, you know, a solid year
and a half.
Speaker 2 (17:39):
I was gonna shave my head. I was prepared, but
when you're.
Speaker 5 (17:42):
Setting up for film cameras things, you know, it's like
we're gonna need another thirty minutes, We're gonna.
Speaker 2 (17:48):
Need another hour.
Speaker 5 (17:49):
And I was just pacing back and forth, and you know,
the trailer going like, oh my.
Speaker 2 (17:54):
God, is it time? Is it time to shave my head?
Speaker 5 (17:56):
It's like in about forty five minutes, but this one
is being and I was just and that's when I
started to sort of freak out. But then it was
great because you know, I just had to lay down
and stay still.
Speaker 1 (18:07):
Okay, so you have the easy issue, that was it.
Speaker 2 (18:09):
And then it was and then it was freedom.
Speaker 1 (18:11):
Nice. Yeah, yeo, because tell me what it was like
in your mindset kind of like looking through that camera
and being like, we gotta get this right, we gotta
get this right, because again, you only have kind of
one shot at this and I, like you just said,
it was a lot of preparation that went into it.
So talking about your thought process as a director not
wanting to permanently mess up in the.
Speaker 3 (18:27):
Hair, well, it was nerve wracking.
Speaker 4 (18:30):
It was like we had to practice before with a
specific trimmer. We practice on wigs with real hair, how
it cuts and how it needs to be done. But
then the hand movement need to feel like, you know,
kind of natural and kind of clumsy because he's doing
(18:50):
it like quickly, and you know, Dawn's not necessarily the
most proficient.
Speaker 3 (18:56):
At cutting hair. As he himself says, it's not coming off.
Speaker 4 (19:01):
So yeah, I mean it was we only had one
chance to basically get it, and then we were preparing
with like extra hair and like in case we needed
to put like some hair on.
Speaker 1 (19:13):
And fake it if it didn't go well.
Speaker 4 (19:16):
And there were these wigs that we have looked terrible
if you had to do it on a wig like
but thankfully, yeah, like the cameras worked and we captured
it and it looks good.
Speaker 2 (19:29):
Yeah, and she.
Speaker 3 (19:30):
Looks a head.
Speaker 1 (19:31):
By the way, thanks guys, would you rocket again, just
like out on the street, just like this is me now,
I think you can.
Speaker 2 (19:40):
Maybe some days, never say never.
Speaker 5 (19:42):
I mean we got to shave it every two days
for months, so it really just stayed stayed super super shaved,
and I felt like I had the experience for.
Speaker 1 (19:49):
Yeah, yeah, hell, yeah, excellent, let's do it. Well that's
not right now, not right now, Okay, I'm surprised I
brought my clippers with it. Was that like one of
the first scenes that you shot because you are balled
for a majority of the film or did Was there
like a couple of things that you shot with hair
and then you jumped into it later well, all.
Speaker 5 (20:08):
Of the beginning the Michelle at the beginning in Oxalith
and everything that was I had hair nice and then yeah,
I think it was about two weeks maybe into shooting.
Speaker 2 (20:18):
Yeah, like a script wise story wise that.
Speaker 1 (20:20):
Yeah, we did it.
Speaker 2 (20:21):
Yeah.
Speaker 1 (20:21):
The reason why I asked is because once like this
is going to get nominated for a ton of Oscars,
like that hair and makeup is gonna go crazy because
like when you put on the hair after and the
hair before they look the same, you know, so you
know it's really cool how.
Speaker 5 (20:33):
Crazy like matches right' so glad? Okay, yes, we'll tell
toon Torsten was our hair maker designer.
Speaker 2 (20:42):
Very healthy. Okay, yes, So we.
Speaker 1 (20:47):
Talked about this a little bit in our virtual interview
that we did about how usually going into a yor
gross production, there's like games and exercises and things of
that sort. But you didn't get to do that this
time around because you guys were just coming off of
Into Kindness, which you're you're just popping them out, just saying.
Speaker 4 (21:04):
Well, I just said the other take, I'd like to
take a break after having made three films back to
back and it has blown up, like I said, I'm
like retiring, like I'm you know, like it's just said,
I need to.
Speaker 3 (21:17):
Break, like going a holiday.
Speaker 4 (21:21):
You know, I haven't stopped for like six years or whatever,
Like give me a break.
Speaker 1 (21:28):
I have a TikTok idea for you. Use the Hamilton soundtrack,
the NonStop song do you write like you're running out
of time and it's like all your movies back to
back and that's you right now, Yeah, Alexander Hamilton, but
coming right off of kinds of Kindness and going into
this Funny enough, there is a like story and Kinds
of Kindness that has to do with identity and deception
(21:50):
and kind of like not knowing who is who? Did
you carry a little bit of that from Kinds of
Kindness into that? Using that overlap is almost a superpower
for Pagonia.
Speaker 5 (21:59):
No, that's an the other one of those that you're
putting together, and I'm very grateful on.
Speaker 2 (22:06):
It was.
Speaker 5 (22:06):
I mean, having worked with Jesse before and you're so right.
In the second story of Kinds of Kindness, there is
like a real kind of a strange overlap that happens
where he is constantly accusing my character of not being
who she says she is right and having to prove
that she is. It has a kind of a spiritual
(22:29):
cousin moment to Pogonia. And so I think, just having
done Kinds of Kindness together, and it's three short films together,
it felt like this was our fourth movie. So not
having rehearsal for this was actually kind of okay because
we had just done all of these different characters together. Yeah, exactly,
(22:52):
And there was so much dialogue in this particular film
that it ended up just being a lot of running
lines and just making sure it was within us so
that we weren't searching for it. Yeah, but typically our
rehearsal process is very fun and very silly.
Speaker 1 (23:09):
Well, it seems like you guys were having a lot
of fun and silly times on this movie. So you
got it already. It's it's all good.
Speaker 2 (23:14):
Yeah.
Speaker 1 (23:15):
I'm a professional overthinker. It's literally in my bios. So
that's why I like, I told you I was gonna
hit you with a heart.
Speaker 5 (23:19):
I love it. It's incredible. I'm a professional. Should be
thinking more and maybe we could meet in the middle.
Speaker 1 (23:27):
Listen, this is how a friendship forms, right, this is right,
this is how it happens. I saw fingers on the side.
How much time do we have because we can do
this all day? Five minutes? Oh yes, good, five minutes
of playtime. Oh boy. So let's talk about the logistics
of the dinner scene and like crawling over the table.
I did a trailer reaction to that, and the first
scene that I feel like I had to show was
(23:48):
Jesse running over that table, exackling you to the ground.
Your talk to me about kind of like the preparation
for that was there a stunt person. I need to
know everything about this.
Speaker 4 (23:58):
Yeah, well there was a a a stunt coordinator and
stun people and it was very choreographed.
Speaker 3 (24:07):
So we started with ideas how it could be and
I think.
Speaker 4 (24:14):
At some point I thought that it would be interesting
for Jesse to just like go because I think we
we're trying to find a way how do they you know,
how does he go close and you know there's no
reaction and so that it's immediate and impactful. So we
came up with that idea. And I think in general,
with all the fight action scenes, violence scenes or whatever
(24:40):
there's there's stunt people, would you know, run it through
then show it to the actors, do it like, you know,
slower and softer until you know the time was right
to just go for it. And I think we did
that like a couple of times and you know it
worked really well.
Speaker 3 (25:02):
Yeah.
Speaker 1 (25:02):
Yeah, And you said there was a stunt coordinator, So
you're saying that's Emma getting tackled and being thrown onto
the ground in that scene.
Speaker 4 (25:10):
In Yeah, in most of the shots, it's especially the
one from the back, it was you and we had
all these mattresses.
Speaker 3 (25:18):
In the back and you know, there might be moments
when there's a stunt person, like when.
Speaker 5 (25:25):
When there was full contact at full speed, it was
a stunt person because I've broken seven bones and I
have a.
Speaker 1 (25:31):
Real feeling.
Speaker 5 (25:34):
In my life before I was thirty, I've broken seven
bones and I have a real like I'm going to
break a bone if there's like crazy impact. I think
I have bone density issues and apparently I'm supposed to
go get a DEXAS scan. But yeah, so the full
speed was was amazing. Devil Yeah, with a really really
(25:55):
awesome prosthetic old cap that I was like, I guess
you could do that now.
Speaker 1 (26:02):
Listen. I saw that and it's so impressive just how
that scene was put together. And my first thought was
like damn, it was chasing it like a champ like
you know, So that was that was incredible.
Speaker 5 (26:11):
Yeah, the tackle early on in the when they kidnapped me,
that was for sure of me being tackled. And I
definitely did not make Jesse feel better about that because I.
Speaker 2 (26:18):
Was like, you know, I really very easily.
Speaker 5 (26:20):
So when you talk to me like I really freak
out and he's like, oh my god, okay, very helpful.
Speaker 2 (26:31):
I'm not an athlete.
Speaker 1 (26:33):
We'll very happy to see that you're all right. All right,
So last question. I don't want to wrap this up with.
I'm sure you've gotten this question a lot, but I
haven't seen it, and I'm very interested here. What is it?
What is a conspiracy that no one can tell you
that is not real?
Speaker 6 (26:54):
I can tell you that I want to talk about publicly.
You're really struggling with this, aren't you, Just like it's
the moon Land?
Speaker 2 (27:08):
No, what's a conspiracy? It's not real?
Speaker 3 (27:12):
And we're at a time.
Speaker 1 (27:15):
I'll tell your mom, what's your Day's Hot Chicken? Is
a front? You guys like Day's Hot Chicken?
Speaker 2 (27:21):
What's Dave's Hot Chicken?
Speaker 1 (27:22):
You? If you if you're in l A. And I've
seen it pop up all around the country now, the
hot chicken spots have just been popping up all over.
It's only in the last like four years. And it's
like who gave a loan to like twenty different hot
chicken joints? Right, there's days hot Chicken, Chicks, hot chicken.
Speaker 2 (27:38):
The mom.
Speaker 1 (27:39):
It could be it could be the mob, it could
be drugs, it could be something.
Speaker 4 (27:45):
Like crime.
Speaker 1 (27:50):
Investigation. It's breaking bad, is what it is.
Speaker 7 (27:53):
What it is.
Speaker 1 (27:56):
So I'm just saying your day's are numbered. I'm just gonna.
Speaker 3 (28:06):
I wish I memorized that.
Speaker 4 (28:08):
But like Jerkin, our composer went into a runt the
other day about like something with McDonald's and the big
Mac thing is like here and in England is different,
and like there's something missing in between.
Speaker 3 (28:24):
There's like a.
Speaker 4 (28:25):
Whole thing like I wish I could have memorized to
tell you it was a very funny. But yeah, no,
I'm sorry, but maybe you can find it online somewhere.
Jerkin Fandricks talking about McDonald's theory.
Speaker 2 (28:38):
Just look it up.
Speaker 1 (28:39):
So many people are like honestly double thinking their trip
to McDonald's after.
Speaker 2 (28:44):
Oh, we have to know what it is.
Speaker 1 (28:45):
Yeah, well check it out, okay, for sure? For sure?
All right, So I believe we're out of time, so
you're off the hook for your conspiracy theories today.
Speaker 2 (28:53):
I'm gonna keep thinking.
Speaker 1 (28:54):
We'll keep thinking about it. But thank you so much
for talking to me about this movie. It was such
a pleasure to have you guys. Thank you so much.
If bifte you guys were coming out in there listening
a bill, right, and I
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