Happy accidents

Here it comes, everybody. Get out of the way. A big, big movie with a lot of action and a lot of heart and a lot of recognizable family feelings. And trauma. And blood, blood. Hi, everyone. Bob Odenkirk here. - And Ilya Naishuller. And we are two of the people who helped to make the movie Nobody happen. We're gonna talk about all the people who helped make this movie happen, a lot of people. There I am. Jesus. What happened to that guy? Not good day. Ouch.

0:10 · jump to transcript →

And this kid's a good actor, man. Gage Munroe. He delivers. Look at this. He's just suffering his fucking father, which, yeah, a boy that age often is doing. And also he's mad at him for what happened last night. And, boy, is Connie Nielsen great in this movie, and are we lucky to have her playing Becca, the wife of Hutch Mansell. And these two have a lot of feeling between them, a deep well, and an estrangement that is unexplained. And yet I think anybody who's been married for more than 10, 15 years, somewhere in there, can Start to feel these complex feelings and kind of a strange feeling of, you know, warmth and obviously acceptance after all those years, and love, but also not real sure if the spark is all there, and if you can bring it back and if you're looking for a new spark...

9:43 · jump to transcript →

What is happening is very complex, you know. But this tells you where her head is at, what happens next. This is beautifully done, Ilya. That she just removes that wall of pillows between them and reaches out to him, sort of saying, I think, you know, "Let's try to make this work, you know. "Whatever it is, whatever happened to you, whatever you got involved in." Now, in the mythos of this movie, the grand mythos from Derek Kolstad's head, there's a bigger bunch of bad guys like Yulian out there in the world who Hutch has interacted with many years before. Some version of these guys, some group of guys, and she knows that, the wife knows that, and she also maybe suspects that he's back in the game, as they Say. And we find out that inadvertently he is back in the game of big, high stakes bad guys, because he went after the wrong Russian on that bus. So here comes Yulian. Tell us about this actor, would you? Because he's great. This is Alexey Serebryakov. - Say that name again. I'm just pronouncing it the Russian way. I think in English it'd be Alexey Serebryakov. Alexey Serebryakov, a great, great actor. Yep. Before we decided we're gonna do the authentic Russian way, there were all these considerations of who can go against Hutch, who can we have that's right. And ultimately, I'm incredibly glad that we have Alexey. He's the real deal. He's a great actor. He's a presence, physically capable. And when I hear my American friends say, "Well, yeah, Russians are scary," that's what I imagine they imagine to be the scary Russian, the guy who you can't really reason with too much and who will do stupid, kind of, unexpected and violent things.

35:07 · jump to transcript →

Tim Burton

you know, as a teenager. And so I just thought, well, what happened to her like 35 years later? You know, it's kind of like that 35 up. You're kind of interested to see somebody that you thought was cool or interesting. What happened to them? Where are they now? So that got me into the feeling. And then seeing like the three, you know, what happens to a person? And, you know, what are your relationships? Do you have kids? And so the idea of seeing three generations of Deetz women, you know, mother, daughter, granddaughter,

2:18 · jump to transcript →

Tim Burton

What the hell happened to me? What am I? You know, and so sometimes in life, you need to kind of reboot and reconnect yourself to yourself. And so the ghost house to me was just a good sort of symbol for who she was and where she is now. Filming the little ghost house sequences, I mean, yeah, it's just, I think it was our first day of shooting and I always wanted to do a cheesy cable show. I feel a dark presence.

4:05 · jump to transcript →

Tim Burton

and they don't even have to say anything. And you can't say to them, act this sort of way. You kind of have to have it in your soul. And so, you know, I've been lucky to meet a few people over the years that have these sort of vibes. Is that mine? Who's texting me? Stupid stepmother. She's got texting diarrhea. I have to go. Lydia.

7:09 · jump to transcript →

Nia DaCosta

So I love the scene for Jimmima as well, 'cause she really gets to shine. And I think kind of all these scenes with these characters, you get, like, this... you can really project what their life was and how they ended up in this space. And I think this scene, when it ends, you kind of hear Jimmima and the way she treats him at the end. Like, you're kind of like, "I think I know what happened to you."

44:34 · jump to transcript →

Nia DaCosta

To be fair, I don't Know what I would do either if I were Cathy. Like, how am I gonna fight them all? Yeah, so this whole thing where she's, like, grinding on him basically, and then she's like, "You thought, you know, you think... "thought I was weaker?" Clearly, something happened to her.

46:07 · jump to transcript →

Nia DaCosta

So in the background, you can hear, like, the rope loosening the hook. And I love this shot. It's a bit longer than in reality, anyone would need to realize what's happened to her. But I just love this progression so much. My cat... Like the blood seeping into her eyes, blood coming out of her nose. Sometimes in film, it's nice to just have these moments outside of time. Cloud space! Cloud... Cloud...

46:46 · jump to transcript →

like it's not breaking the world but it's like it's like defining a new dimension where almost everything is the same as this dimension but there are these like differences for example that Marcel even exists but it's so weird how if you can if you're lucky you can know the rules like I feel that way also about Catherine that we made which I really hope that after this movie a lot of people will go back and watch Catherine but that that also had a really specific game in a way like that

46:13 · jump to transcript →

Yeah, Isabella was so game. Yeah. We got very lucky. I think that she's just a true artist who wants to do art projects that she's never done or work in different ways she hasn't worked on before. Yeah, do you remember during the shoot she was like, do you know anybody who can make me a circus outfit? We were like, what? She really wanted a circus outfit, remember? It was for her one-woman show. Yeah.

55:05 · jump to transcript →

showed up with an incredible professional positive attitude and of course she's an incredible actress and a perfectionist and we're lucky to have her but it was also you know aldar was new to the ensemble and he was often you know when we had these scenes with a lot of extras like what are we doing here and and was very helpful to me in kind of like rallying the troops so to speak

51:43 · jump to transcript →

Our core enslaved people were all really great, great, great, great sports and good. I mean, you know, the extras in this film are good. I am quite lucky. So many things can be, you know, ruined by bad background performers, but we lucked out.

1:25:05 · jump to transcript →

And as a result, that's why we chose some of those takes. But in many cases, the best take happened to have the right vibe going on behind it. There was something ethereal happening in this scene beyond anything we had really anticipated. When you're an editor and you read the pages for a scene like this, you are so anxious about how

1:25:50 · jump to transcript →

of this movie and in Fallout. Fallout is backlight-a-palooza. But all of these, you know, where they're going right through the sun. A lot of these shots, you can see how foggy and misty it is in Norway. The weather was very temperamental. And when you got the sun, you were very, very lucky to get it. And we were. You did shoot a version of this scene where Ethan and Grace both went through the luggage car.

2:16:20 · jump to transcript →

something horrific that happened to real people. And many of the real people were around the cast and the crew. Which, even if they weren't there, it would have been quite an extreme experience for those actors and for the crew as well. But they were there. And this is that transition moment just about to start. Yeah. I remember from here on out, I was like, yep.

27:53 · jump to transcript →

Reload, yeah. Even this, this wasn't, we didn't plan on this, but I think due to just us powering through these scenes, we're gaining days, as in gaining days meaning we were getting ahead of schedule because this was never planned. We always wanted to, but I think we just felt we had an aggressive schedule, ambitious schedule. It was kind of like, man, I don't know if we, we may get to it, we may not, but I always wanted to do this piece. But I think just, again, time and money was it.

1:06:05 · jump to transcript →

ended up sort of just going in a different direction for whatever reason or experimenting with different aspects of the film industry and got lucky and won and just continued to pursue that. Well, I mean, he's had a good career in acting, so he probably didn't choose poorly. But yeah, definitely a big fan of this. Obviously, if I bring him up,

28:43 · jump to transcript →