2:00

velvet drapes by and it's phenomenal. The

2:02

whole color scheme feels like just like a

2:04

perfect way to ease out of this film.

2:06

Yeah, it does. So the last time

2:08

we spoke the movie had not premiered yet and

2:11

I couldn't talk about anything

2:15

now Everyone in this room has

2:17

seen the film and so I feel like I can

2:19

safely ask how does it feel to now have a

2:21

film That's entering the unique

2:24

canon of movies that end with

2:26

a climactic cathartic dance number Oh

2:30

It's really wonderful. It's you know,

2:32

I mean There's

2:36

there's nothing better than a naked dance

2:38

through a castle to save the respecters

2:41

murder on the dance floor So yeah to

2:43

kind of join those the hallowed halls is

2:45

very thrilling at what point did you know

2:47

that would be the ending? Well,

2:51

it was always gonna end with with

2:53

all of a Walking

2:55

naked through the house. It was it was

2:58

always kind of designed to be the inverse

3:00

of Felix's tour So

3:02

kind of he takes his own tour, you know but

3:07

Kind of about halfway through filming I I

3:09

felt like You know

3:11

the purpose of it is it's not just

3:13

an act of like territory claiming. It's not

3:15

an act of desecration or Just

3:18

it's also, you know for the

3:20

purposes of us the audience. It's

3:24

um We

3:26

need to be complicit in the

3:29

feeling that he has which is one of kind of Joy

3:32

unfettered joy unfettered joy And

3:35

so yeah So it kind of needed to be

3:37

something that got your blood up and

3:40

kind of made you nod along Even

3:44

if you you know, even if you weren't

3:46

on all of his side, it's impossible not

3:48

to be on his side by the end

3:50

It's a happy ending totally You Mentioned

3:52

something I want to go back to the beginning of the movie But

3:54

before I do you mentioned something that is really intriguing to me, which

3:57

is that you had that realization about

3:59

halfway through How

4:02

much did the film evolve as you were shooting it? Whenever

4:05

I make a film, I'm always marveling at how

4:07

close it is to the script, but then these

4:09

little waves that just grew into something I never

4:11

imagined. And how did this film

4:13

grow in that way for you, aside from that

4:15

realization in that way? I think

4:19

it's always just... I

4:22

think everything in filmmaking, it's

4:24

pressure and release, isn't it?

4:27

And those are the kind of pedals, I suppose, that

4:29

you have all the time. And if

4:31

you're lucky enough to film in one location, like we

4:33

did with Thoughtburn, what it does

4:35

is it... When

4:38

you suddenly... When you

4:40

get the sense that you need to apply more pressure, or

4:43

you need a bigger release, then you have the

4:45

opportunity to kind of change things

4:47

a little bit. And I

4:49

think that's the... Most of the work that

4:52

is done in production is

4:55

kind of... That sort of thing,

4:57

it's intensifying moments, rather

5:01

than kind of remaking things entirely.

5:05

So yeah, it's

5:08

always slightly moving. Going

5:11

back to the beginning, the movie begins at

5:14

Oxford, where I believe you studied drama? English.

5:17

English. And

5:20

I was curious if you knew an Oliver

5:23

Quick in your time there. I

5:27

don't think I'd still be alive if I did. Well,

5:34

I feel like Oliver Quick. And

5:36

I think everyone who goes to university, everyone

5:38

who falls in love with someone who's

5:40

never going to love them back, feels like Oliver Quick. Everyone

5:44

who's... Like

5:46

all of us have had that feeling of wanting... We

5:49

all of us want to be special. We

5:51

all of us want to be desirable, funny,

5:54

clever, sexy,

5:56

interesting. That's what we... These

5:59

are our driving. kind

6:01

of life forces really. And

6:04

Oliver just fills

6:06

those things maybe. Maybe

6:09

he, yeah, maybe he

6:11

just fills them a little more strongly than

6:14

the rest of us. It's why he

6:16

makes such a wonderful protagonist in spite of doing

6:18

things we may not agree with. We can't help

6:20

but empathize and sympathize with him

6:22

throughout. I hope

6:24

so, yeah. I mean, I think certainly

6:27

Oliver, as well as being a person, is

6:29

kind of, you know, he's also a

6:32

feeling that

6:35

all of us have had. And I

6:37

think, you know, the film in many ways is

6:40

an expressionistic film. And

6:42

of course it's hard not to empathize

6:45

with a character when he's played by an incredible

6:47

actor like Barry. How did you meet Barry? How

6:49

did Barry become involved in the project? Well,

6:52

I've been such an admirer of his for

6:54

so long. And obviously,

6:57

it's seen killing of a sacred deer. Another

7:00

thrilling comedy. My

7:03

favorite comedy. And

7:07

so when we were thinking about casting

7:09

Oliver, in many

7:12

ways, Barry might

7:14

not have been, I don't know, you know,

7:17

maybe he wouldn't have been the first person that people

7:19

might have thought of this part, but I

7:22

just couldn't get him out of my head. And

7:24

the thing about Barry that's so incredible,

7:26

and the

7:30

closer you get, the less you know.

7:32

And the more you

7:34

try and catch him, the further away he gets.

7:37

It's a sort of remarkable thing.

7:39

And that's sort of what Oliver needed to

7:43

feel like. Because the thing is, is that

7:45

Thoughtburn is a Gothic, you

7:48

know, it takes its

7:50

cue from the Gothic British novels,

7:53

I guess, of Brideshead and The Go-Between.

7:55

And they all have, or even, you

7:57

know, something like Great Gatsby is a

7:59

good example. they all

8:01

have unreliable first-person narrators. And

8:04

that's very difficult to do in a film. And

8:09

so you need somebody who is

8:12

enigmatic enough that you

8:14

can read lots of different things

8:16

into their performance, but not so

8:18

isolating that you don't care. It's

8:21

very difficult, a very

8:23

difficult balance. And yeah, Barry, I can't really

8:25

think that anyone could have done it so

8:27

beautifully. He's like an inscrutable raw nerve,

8:29

where you just feel everything, but can't

8:31

quite ever wrap your head or

8:34

head around him entirely. And

8:36

I was struck

8:39

by, everything about this movie is

8:41

so, watching it again here in particular, getting to

8:43

see it in this screen, I have

8:45

to say, seeing it masked properly with the four-three

8:47

aspect ratio, what a joy that was. And

8:50

I thought there were so many things, I

8:53

was just taken by the first time, but the

8:55

second time I was really paying attention to how

8:57

the scenes were constructed, how you covered

9:00

them. I wanted to talk, because we're

9:02

here in the DJ theater and I feel like I

9:04

can talk about things that directors get excited about, like

9:06

how many days did you have from this scene or that scene?

9:09

Right, oh, well we never had more

9:11

than a day to shoot any scenes, so. It

9:15

was a 46-day shoot, which

9:17

was luxury, because Promised Young

9:20

Woman was 23 days. So

9:22

we just couldn't believe the amount

9:25

of time we had. And

9:29

the longest scene was the Shepherd's Pie scene,

9:31

that took a whole day, just

9:34

because of the coverage, it's a long scene.

9:38

But no, we like to be quite, I like

9:40

to be thoughtful

9:43

about coverage. I

9:45

don't get much excess.

9:48

Things tend to be kind of planned

9:50

fairly, precisely

9:52

in advance. And that's the wonderful thing about

9:54

working with Lena, is both of us like

9:57

to be more expressionist.

10:00

in our work. So actually a

10:02

lot of the time you're kind of working with

10:05

the production designers and everyone to

10:07

make the, to

10:11

kind of provide this pathetic fallacy

10:13

that every scene, every camera

10:15

move has this sort of emotional

10:18

kind of, you know, an emotional reason

10:20

behind it. And so my

10:23

hope for any film, but this film in particular

10:26

is, would it work

10:28

as a silent film? You know,

10:30

can you watch it on mute? And do

10:32

you have an idea of what's

10:34

happening? And the hope is that because

10:36

of, you know, for example, the seduction scene

10:40

when Oliver

10:42

seduces Phoenicia, the vampire

10:44

scene, you know, it's

10:46

sort of Nosferatu, sort of

10:49

the most gothic, overtly gothic moment.

10:53

And I think every scene has its own,

10:55

not just its own kind

10:57

of look, but its own feeling,

10:59

its own emotional kind

11:02

of, yeah, reasoning, I suppose. Can

11:04

you talk about, for example, the scene, Phoenicia's

11:07

final scene in the bathtub, like getting into

11:09

a scene like that, where the coverage is

11:11

very simple. Like I was like, I

11:13

think it's maybe three shots, or at least

11:15

one shot. It's just one? Yeah. How

11:18

do you, like, when you get in there, do you

11:20

sit down with the actors and block it out? Obviously,

11:22

there's not much movement in there. Well, there's no action.

11:24

That's so, that

11:27

is a prosthetic of Phoenicia.

11:30

Oh, when she's in the scene before that,

11:32

when she and Barry are.

11:34

Yes. Okay. Sorry. I thought you meant Phoenicia's death.

11:36

But that one too, because that one is a

11:39

strong image. Yeah. It's

11:42

quite devastating. What's so weird

11:44

is that, yeah, she's a prosthetic in

11:47

that scene. Because obviously, you can't make

11:49

bath water still enough with a real

11:51

person. And exactly to do that kind

11:53

of focus pull to see Oliver. But

11:57

me and Victoria Boydell, the amazing editor, kept

11:59

seeing her. blink in

12:02

the edit. Even though we knew

12:04

that she wasn't real. She would

12:06

say, stop it, Victor!

12:13

The scene before is that they're

12:16

wide and then it's

12:21

two singles and

12:24

then the super, super close shot. I like

12:26

to be very, very close. It's why 133

12:28

is so beautiful because it's

12:31

just a full face. And

12:33

then you can do the things that was

12:37

so important with this film.

12:39

When you're making film about beauty, when you're

12:41

making a film about the fetish of

12:43

beauty, whether it's houses or people, you

12:46

need that human texture. So much

12:48

of the discussion early

12:50

on with skin, skin tone,

12:53

pores,

12:55

taste buds, armpit hair, the

12:58

sense of the human inside

13:00

all of it. But yeah,

13:02

when it comes to those scenes, you

13:06

don't need much coverage.

13:11

You just want to let them do

13:13

their job. And how

13:16

do you work with the

13:18

actors in a scene like that where it

13:21

is so heightened, so intense, so

13:24

exposed? And then there are these moments like I

13:27

found myself wondering, did Barry know

13:29

she was going to put her fingers in

13:32

his mouth? And I'm sure the answer is yes, but

13:34

it just felt so alive. Well,

13:37

I think

13:40

that's the key, isn't it? Is it getting

13:42

everyone to a stage where I

13:44

think the

13:47

more the kind of thing of this film for

13:49

all of us is sort of with

13:51

supporting each other and pushing each

13:54

other to kind of go harder,

13:56

deeper. And

14:00

so with that scene,

14:03

I don't think Barry did know. That

14:07

sometimes, you know,

14:09

it's giving people the freedom to do what they

14:11

want. Sometimes it's whispering something in somebody's ear. There

14:14

was one point in the last take, I

14:17

asked Barry to get into the bath with her. And

14:21

it didn't work, but she didn't know.

14:24

And it was so thrilling. And that's the thing, I think, it

14:28

always being surprising, having

14:30

different, you know, it's

14:34

just the fun of it. When the actors are that

14:36

good, you just

14:38

wanting to kind of, you

14:41

know, the kiss was introduced late.

14:45

There wasn't a kiss initially, and then felt

14:48

like there needed to be the worst kiss in the world. And

14:51

that's the moment where he realizes, of course, he's gonna

14:53

kill her when she pulls away. Extraordinary.

14:56

There was an opportunity for her to live,

14:58

and she fucked up. And it's right there, it's right

15:00

there in that two shot. What

15:03

were some of the conversations you and Lynne have

15:05

had about the look of the film? Because it

15:07

is so gorgeous, it is so textural. It's

15:10

exquisite, there's so much beautiful chiaroscuro, there's

15:12

so much beautiful stickiness

15:16

to it. Not just in

15:18

terms of like what we're looking at, but just the

15:20

way the images stick in our heads afterwards. How

15:23

did you, what were some of the reference

15:25

points you may have talked about, paintings, photography?

15:27

Yeah, it was a lot of, a

15:30

lot of paintings. So absolutely we were looking

15:32

at Caravaggio, but we were also looking at

15:34

kind of British formal sort of portrait painters.

15:36

So Gainsborough and Joshua

15:39

Reynolds, again, beautiful

15:41

skin, beautiful fabric texture.

15:47

And I think that's the thing that we

15:49

wanted it to feel tactile. It

15:52

needed to seduce the film and

15:54

the place and the people need to

15:56

seduce us as much as all of us seduced. We

15:58

need to kind of want to get it. there desperately

16:00

too. So it was

16:02

always sort of trying to

16:05

find the most effective seduction

16:07

method not just for

16:09

the story but for the

16:11

audience too. And it

16:14

was just a

16:17

joy working with Linus

16:19

because it's always

16:23

about kind of finding the most

16:26

engaging beautiful thing.

16:30

It's not, we're not worried about so

16:32

much kind of light sources. All

16:34

of the things that being

16:37

tethered to reality can sometimes be

16:40

a bit of a drag honestly. And

16:43

when you realize that actually

16:45

it's a joy to be bombastic

16:47

and expressive

16:49

and unsubtle and all the things

16:51

that the people that I love like Peter

16:56

Greenaway or Merchant Ivory

16:58

is up to a point that way. Yeah,

17:01

Joseph Lucy who we

17:03

were talking about. Side note, what's your favorite

17:05

Peter Greenaway film? The

17:07

Draftmen's Contract. Yeah, extraordinary. That retrospective

17:09

last year. Really? Yeah, there

17:12

was just fantastic. We could talk about

17:14

that all day but we're not here to talk about Peter Greenaway

17:16

though. I would recommend everyone check out all

17:18

of the films that are being re-released

17:20

right now. The editing, you

17:22

mentioned working with your editor. She and both

17:25

of you created such an incredible sense of

17:27

rhythm. I wanted to talk about that dinner

17:30

table scene after the

17:32

party when the lunch after

17:35

discovering Felix's death because it

17:37

is I think the

17:39

perfect marriage of every element that goes into

17:42

a film. You've got the

17:44

production design with the red curtains. You've

17:46

got the, obviously the

17:48

cinematography is crucial and

17:51

coverage of a scene especially around a

17:53

dinner table where there's the worst. So

17:55

boring. And you've complicated things for yourself

17:57

by having someone go to a window

17:59

also. adding an extra eye line in there. Nightmare.

18:02

And then the sound design of just the

18:04

corner outside. All of those elements are so

18:07

perfectly married. How was it

18:09

constructing that scene both on set and then

18:11

I'm sure again in the edit as it

18:13

all came and crystallized? Yeah, totally. I mean,

18:15

that was, it was a real beast because

18:17

I think it was nine pages dialogue that

18:19

scene. And obviously it

18:23

sort of was always cut in half, designed

18:25

to be cut in half because the moment

18:27

the curtain shot in the room goes red,

18:30

you know, you really hobble yourself in

18:32

the edit. If you want

18:34

to switch things around, you definitely can't. And

18:38

so yeah, so it was kind of for all of us. It

18:40

was just about, you know,

18:43

needed to feel like a nightmare. And

18:46

but it also, it's interesting, I think that

18:50

people, people

18:54

have read it as the family

18:56

being callous. I

18:58

actually don't think it's callous at all. I think

19:00

it's an act of just like profound desperation because

19:04

it's when the

19:06

worst thing, when the worst conceivable thing

19:08

happens, what,

19:12

what else is there to do? What can

19:15

you do? There's no reason to anything anymore.

19:18

You might as well eat or

19:20

you know, it's, I think it's often

19:22

when you're in a great deal of shock, you

19:24

can sort of put one foot in front of

19:26

the other and it's the only way of making sense of

19:28

something. But I think that, you

19:31

know, the, it was sort of about the

19:33

tension, like ratcheting up the tension up to

19:35

the coroner passing

19:38

and all of that, you know, that in the edit,

19:40

that was the hardest thing was that conversation about cake

19:43

and how your hands need to,

19:45

you know, your hands need to be called to make pastry

19:47

and then it gets worse and worse. You

19:50

know, such a beautiful performance from Paul

19:52

Rees who plays the barber Duncan and

19:55

it's the only, it's the first time that

19:57

Duncan, the only time that Duncan. breaks,

20:02

and it's so awful. And

20:05

it's, I think, the most important.

20:09

In one of the first scenes, I think, it

20:13

was always the kind of island, you write, there

20:17

are moments that you know you need to swim to, and

20:20

it was one of the first islands, the

20:24

Shepherds' Pie scene, for me. I

20:27

find one of my favorite things in film is

20:30

finding a way to tangibly,

20:32

texturally express

20:35

something intangible or ephemeral. And

20:38

grief is one of those things, and what you say just

20:40

now about how it's not callous, this

20:42

is just a way of expressing grief. Each person

20:44

is expressing it in a different way in that

20:46

scene. And then, of course,

20:48

you have the scene that I'm sure everyone's been

20:51

asking you about at the grave site, which is

20:53

a scene that, for

20:55

me, at least, especially watching a second time, is an island.

20:57

It's such a, that scene, the bathtub scene, all the scenes

20:59

that people may have a

21:01

strong reaction to, or they're just like afterwards, you're

21:03

saying, we've got to see the movie where this

21:05

happened. But at the same time, it's

21:08

got these atra elements to it, but

21:11

also they're so underlined by emotion that part

21:13

of the reason that they are so effective

21:16

and are so difficult to wrestle with is that the emotion

21:19

is so true to them. Were

21:21

those scenes always how you got there,

21:23

or did you just find, as you were writing the screenplay,

21:26

that you, like for example, the bathtub scene, that

21:30

that was just the best way to express what was going

21:32

on in his mind at that moment? Yeah,

21:35

well, the bathtub scene was the first scene

21:37

of the movie. It

21:39

was like the inciting moment. It was the first

21:41

thing I ever thought of when I thought of

21:43

Saltburn seven years ago. The

21:47

first thing was Oliver was a young man saying,

21:49

I wasn't in love with him, and then that

21:52

young man licking the bottom of the bathtub. So

21:56

that was always the lie, the

21:58

whole thing. started with

22:00

the lie, with the first person

22:02

liar, you

22:04

know, because if you're licking the bottom of somebody's

22:07

bathtub, you're definitely,

22:10

definitely in love

22:12

with them, I would say. So

22:16

then, so there were those things, but then

22:18

with the grave, it was different because

22:21

the grave, you

22:23

know, it was one of those

22:25

things that kind of, I don't

22:28

want to be escalated, but again,

22:31

it just became apparent

22:33

it needed to be, the thing

22:38

I talk about quite often, quite a lot, is that

22:40

in Withering Heights, Heathcliff

22:45

digs down with his hands to get to Kathy

22:48

in her grave, and the

22:51

implication is very much that he

22:53

wants to touch her to the

22:55

right, and I think, so

22:57

it sort of fills in line with the like,

22:59

gothic of this film, but

23:02

also, but you know, it was originally going

23:04

to be a little bit more restrained, and

23:07

then on the day, I

23:09

said, you know,

23:11

Barry, think all of it

23:14

on zip, and

23:16

Barry said, close

23:20

up. But you know, that's what's

23:22

so great about working with Barry,

23:24

is you make a

23:26

suggestion, like, on zip, and

23:29

you really get what you asked

23:31

for. You

23:34

know, but it's the thing about that

23:36

scene that's so interesting, because obviously,

23:39

first showed it to, there

23:41

was a kind of like,

23:44

okay, you know, do you want to

23:46

cut it though you could, maybe

23:48

you should cut it. We know what's

23:50

gonna happen, so like, just, you know, when he

23:52

starts unbuttoning his trap, and we just cut it, and

23:55

the thing is, my argument is always

23:57

that, that makes it a, that's a joke.

24:00

So that's the thing about that's why he had it so

24:02

glorious, is that when these

24:04

decisions are important, you cut it

24:06

there as a gag and it's not a gag. You

24:09

cut it midway through the sex

24:12

and he's enjoying it. And

24:15

that's not real either. But

24:18

the important thing about staying there is that

24:21

he himself realizes what

24:24

a pathetic, futile,

24:27

terrible, absurd thing he's

24:30

doing. You

24:32

kind of need the whole

24:34

thing. And

24:37

I sort of feel like, and

24:39

I feel the same way with lots of things in films, I

24:41

sort of think, yeah,

24:45

we don't have to look away. Sometimes

24:48

it's good to look. It's

24:50

confronting and uncomfortable and it's funny and

24:52

all the things, but it's sort of

24:55

good to have to look sometimes. It's one of

24:57

the reasons to go to the movies. So thank

25:00

you for the lack of restraint and

25:03

also for sustaining it, which is just marvelous.

25:05

It's just fantastic. Another thing I love about

25:07

that is the use of music in that

25:09

sequence, which of course it cuts out halfway

25:11

through, which is what makes it, that's at

25:14

the point when you realize this is emotional

25:16

and you start feeling it, is pulling that music

25:18

out. But the music, as

25:20

with everything else in the movie, is gorgeous. Can you

25:23

talk about working with your composer? Worked

25:26

with the fours, of course. Yeah,

25:28

I mean, Anthony Willis. He's so

25:30

amazing. So that piece of

25:32

music is a hymn called Dear

25:35

Lord and Father of Mankind. Oh

25:37

no, sorry, Lord of all Hopefulness, which is a

25:40

very famous British hymn. And

25:43

actually it just ends. It doesn't cut out. It

25:45

just ends. It reaches its end. And

25:48

then there's that kind of awful silence. And me

25:51

and Anthony used a lot of British

25:53

hymns as a reference point for this,

25:55

to have that sort of uber British

25:57

kind of... a

26:00

sort of brideshead fetish feeling. And

26:03

so in the script,

26:06

the opening monologue, I

26:08

wasn't in love with him, was set to say,

26:11

Dr. Priest, and then

26:13

it was to sort of reach its climax as

26:15

it does from the opening credits, and then we

26:17

follow Oliver, and what we talked

26:20

about a lot was sort of, should

26:22

feel like Brexit

26:24

fantasy. It's the thing of

26:26

like, it's arch, it's over

26:29

the top, it's

26:32

all the things that are

26:34

kind of fetish for, I

26:37

don't know, country houses and all of these

26:39

things, it kind of needed to have that

26:41

thing, that feeling. And so, and

26:44

Zaydok the Priest is a coronation theme,

26:47

and this is a film about a coronation, really,

26:49

I suppose. And so I said

26:52

to Anthony, it would be amazing if the

26:54

score was sort of born out of Zaydok.

26:58

And so he wrote

27:01

this incredible theme, because

27:04

I think a theme is such

27:06

an underrated thing, especially

27:09

if you have a film that's kind of

27:11

tonally takes

27:13

you to different places, it's

27:15

sort of a spine. And so

27:17

every single piece of music in this that

27:20

is scored is the theme. It's

27:22

the same piece of music again and again,

27:25

it just feels so different. And

27:27

then at the very end, it becomes Zaydok again.

27:30

And so, yeah. How

27:32

has the reaction been, if you've been able to

27:35

parse it out between, from British audience to

27:37

an American audience? Honestly,

27:41

it kind of changes from room to room.

27:43

It's not even like a British

27:46

American thing, it's what's

27:48

really wonderful and why it's so

27:50

wonderful when people see it in the theaters that, in

27:54

the moments that are kind of a bit

27:57

more transgressive, maybe you

27:59

have... this thing where there's

28:02

a reaction, there's a visceral reaction, but

28:04

it's quite different. So some people are

28:06

laughing, some people are like

28:08

gasping, some people are screaming, some

28:10

people are complaining, some people are

28:12

bored, some people think

28:15

everyone else is just incredibly lame

28:18

to have any reaction at all because

28:20

nothing is, nothing that they're seeing

28:22

is remotely surprising or transgressive. And

28:25

everyone in the room thinks that everyone

28:27

else's response is deranged. And

28:29

so then the audience kind of turns on itself. You

28:31

have the thing that people, you know, people are going,

28:33

oh my God, and then other people say, shut up,

28:36

and then like, oh no, and

28:38

all of it, and it's just like, it's just

28:40

such a joy. It's

28:43

such a joy because that's, you know, that's why

28:45

you make a movie. So

28:47

people sit in the dark with strangers and

28:51

wonder about each other. You

28:54

know, it's a very

28:56

like powerful relationship.

28:59

So I don't know, it's thrilling.

29:02

I think, you know, but I do

29:04

think in England we are more comfortable, maybe,

29:06

no, maybe that's not true. I think we

29:09

have such a like grotesque, we

29:12

have a love of the grotesque, and

29:14

just the truly revolting comedy.

29:17

And so I think perhaps like

29:19

some of the, you know, some

29:21

of the more kind of awful moments towards

29:23

the end, you

29:27

know, with the things that people in England

29:30

are more like, yes, absolutely. Yanking

29:32

that, yanking the

29:34

tube out of her throat is very fun,

29:36

you know, it's just. It's a love riot.

29:39

Yeah, it's a love riot. It just depends.

29:42

Whenever like I

29:45

make a movie, I always, you know, hopefully

29:47

like we make a great movie and we are going to

29:49

share it with an audience, but the thing I always think

29:51

back to, like what are those moments on the set that I'll

29:54

carry with me for the rest of my life? The

29:56

happy moments where I'm like, I'm getting to make this movie,

29:58

and how do I, the

30:01

commemorative afternoon on

30:03

set with the great crew that I love. What

30:05

are some of the happy moments from this movie that you have? Like it was

30:07

something that you'll carry with you for the rest of your life. Oh

30:10

my God, it was all so amazing. Honestly,

30:16

I mean, every

30:18

day was so thrilling. I

30:20

think the party was fun

30:23

because it was a night shoot and it was 300

30:25

essays and it had to feel like a

30:28

real party because

30:31

parties in films or nightclubs in films

30:33

are often very bleak. They're

30:36

too clean, you know? Often you find the

30:38

floors are too clean or people look too

30:40

good or, you know, there's not that sense

30:42

of things like the

30:45

party needed to feel like there was the potential for

30:47

things to get dangerous. Like

30:49

really good parties, you know? It gets scary

30:51

at some point. And so,

30:53

you know, but for keeping just

30:56

everyone working to keep everyone's energy up

30:59

and, you know, you get that moment

31:01

at like four in the morning when everyone's like totally

31:04

lost their mind. And

31:06

yet, you know, the sun comes up

31:09

and you just think, you just can't believe

31:12

you've all managed to pull it off. Well,

31:14

you pulled it off. Thank you

31:16

so much for making this movie, for presenting

31:19

us for us tonight and thank you all

31:21

for coming to experience it.

31:27

Thanks for listening to another DGA Q&A.

31:30

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31:32

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31:35

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31:37

We'd love to hear your feedback and you can help

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31:42

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31:46

podcast is produced by the Directors Guild of

31:48

America. Thank

31:51

you.