Props

We're introducing the characters and we're also taking into account that people don't absorb the very important information. There's so much going on visually. There's so many things happening in the scene that if you're perceiving repetition, it's because you're way ahead on the bell curve. And here's another example of one of your wides, which hinges around an object so that you get like common geography, but it's always based around an important prop or object.

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But I love how these characters play. I love the air we left in this scene. And here's a move motivated by? By this prop in the foreground. It's motivated by a prop, but it's also motivated by a turn. Oh, a turn emotionally. She has just made a choice. Exactly. And these movies are obviously, these two chapters are about choice and acceptance. In that moment, she's made a choice and her life has changed. She's simply not aware of it. Yeah.

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Eric Jenderson's choice of the Zippo, that was his. So good. When they presented me with the possible props that could be a Geiger counter, he looked at it first and said, slip a Zippo in there. And without my knowing it, when I walked up to the table, of course, it's right where my eye went. It was a great choice on Eric's part. All of this stuff with being around... I will say that the amount of CCTV footage that you shot, like every single setup, they had four little tiny cameras filming.

38:24 · jump to transcript →

Then here's his dad watching a cowboy movie with a lot of guns going off. It's a family of violence, these people, this dad and the son. And then we had RZA on the ham radio there, playing Hutch"s brother, Harry Mansell. Yeah, I'm okay. RZA was a very, very, dare I say, great choice. He was the best choice. Having such an iconic and unique voice. Do you remember who we used to be? You know, the first three times we come across this character, we don't see him. We only hear him. - There he is as a kid, and there I am as a kid and there's Chris Lloyd as our dad. And Chris Lloyd just couldn't have been a better choice as the father of these two. A funny guy, he's got a dark past, and he just brings a lightness to an otherwise very dark film that is just a joy. I think it's having Christopher Lloyd was what started pushing us towards the idea of... We always knew we were gonna end up in a more poppy, sort of colorful last act. But getting Lloyd in the film, which... I want to give more props to you, Bob. It was your idea. You came across the thought... We were looking at a bunch of different actors potentially for the dad, and you were like, "What about Chris Lloyd?" And it just made total, perfect sense that, of course, someone with such positive baggage... - Yeah. ... wielding a shotgun, killing people is gonna be much more fun to see than someone we've seen do that.

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And props to Greg Rementer and Larry who was... I forgot Larry's last name, but Larry who was a DP, who did second unit on films like Top Gun, so he's got quite an experience. And they had to shoot... So we shot all the stuff with you, and then we went off to do more dialogue scenes. And quite a bit of this was done by Greg on the coldest possible Winnipeg night. Brutal. Yeah. The second unit was shooting at night, we were shooting day, so I went over after... I think it was one of the kitchen scenes that we shot. I went over afterwards and it was just... You know, I had two jackets on, three pairs of pants, snowboarding pants... it just... It was so cold that you really felt it in your bones. Not just the saying. It really was that bad. So the fact that they were able to pull all this off and, you know, Stick to the storyboards when needed to, and step away and do slightly their own thing... - I'm super excited by how great they did. - Yeah. Yeah. As a director, you're like, "I don't wanna have second unit," but you have to. There's no other way we can get this filming done in days. Very important that he pulls into the owner's spot 'cause he bought the place. I think it's very important. It's... It matters to him. Jesus. That car is a wreck now. His neighbor's not gonna like that. Here they come.

1:14:20 · jump to transcript →

So yeah, he did amazing conveying that. As did the props guys and the SFX guys. The SFX guys setting up these grenade explosions. So typically what has had to react to was something that felt right. A sudden sort of blast of depressurizing air jamming into the room, big wave of dust, loud noise.

52:37 · jump to transcript →