Lens choice

Again, coming from a character who's- Totally unafraid to play as well and just- All the, from broad comedy to dark and sinister. Exactly. She did it all and was really never, never had an issue. Very, very fearless. Just gave us lots and lots of options. Did you direct this on Zoom? I was directing this on Zoom. Oh my word. I had my contact traced. Yeah. And had to direct all, everything in this car had to be directed on Zoom. Very, very frustrating.

2:00:41 · jump to transcript →

another scene I directed over Zoom. Yeah, another scene, though, which even in its earliest iterations was just absolutely firing. One of my favorite shots. I love this shot. And the connection between these two characters. Another thing I really like about working with this cast is just momentary connections between characters who don't otherwise really interact with one another. They all have a feeling to them. And this...

2:29:17 · jump to transcript →

because I was directing over Zoom and in low resolution, I didn't see Palm's tears. And I was really taken with her performance, not seeing so much of the subtlety of it. Yeah, look at it, that tear. It's months later. It's amazing. It's sensational. It's really, and that, of course, came later when I realized I should...

2:29:47 · jump to transcript →

Hutch here. Last night, that was you, huh? And then here, we got a great phone call with RZA calling his brother from who knows where and... I think, originally, he was supposed to be on an island. That's what we had in one of the lines. But then we kind of thought, "Well, how does he get there from an island so quick?" So it was changed to a nondescript location. I always like how you step into the shadow when you take this call. Yeah. - Hopefully it's not too on the nose, but I kind of like that the family's light in the back, and then here you are in a little bit of darkness. And he mentions The Barber. - The Barber. And that was not what he said in the original script. No. This is where... So this is act two and act two was very, very different. And I don't know how much in detail we should go, 'cause there's a lot of them. But the idea is that now Hutch gets the call, gets the message to go see The Barber, he gets the phone message, a text message, he goes, and basically what we used to have Is... What we have now is a compact montage of a much bigger act two than we originally had shot and envisioned, which makes the film much, much better. And that was something that David Leitch set down with Evan Schiff, our second editor. I finished... This is right as Corona was hitting the US, and we all had to go home, and I flew home. And David spent time working with Evan over Zoom to put the sequence together. By the way, if you pay close attention to the clothes on Hutch's character, you'll see that it's very lucky that he's always wearing blue. And may I say the reason why you're wearing blue, Bob? Yeah. So, early in preproduction Bob said that, "Guys, I think we should get some blue stuff on me." I'm like, "Why?" He's like, "Well..." I think you said your mother saw you wearing blue... - In the Spielberg film The Post. She saw The Post, she liked it. And she goes, "Your eyes aren't that blue." And I go, "Actually, yes, they are. They pop blue more if I wear blue." You see the blue in my eyes if I wear blue. They're kind of a blue-green, I think. SO anyway... So your mother... We have to thank your mother for putting us in this direction because it saved us in the cut. She will not be seeing this movie. Really? - No. Can we do a cut-down version without... She's 84 and does not watch violent films at all. ...

42:46 · jump to transcript →

Edward Berger

and for the tank to drive over. So it helped us with the HOD to discuss what we needed for each shot. And everyone was able to weigh in. And we had Zoom meeting over Zoom meeting of HOD meetings to talk about each of these shots. How much mud? Is this a real knife? Is this not a real knife? And to define it. And that helped, first of all, everyone to know what was coming. And for me, at the same time,

1:21:49 · jump to transcript →

Tim Burton

Zoom to find all these. So the whole thing is full of things, but nothing that comes up to mind. The shrinkers escaping the afterlife. Again, these are the things that nobody really knows or cares about. But the interesting challenge, and this is the things that maybe slow things down, is, like, they can't see out, you know? It's literally like the old Halloween costume, like, here, put a head on your shoulders and run around.

1:08:49 · jump to transcript →