00:26This is Tim Wasper from Fast Track on CERC TV.
00:29I'm here in Austin, Texas for fantastic fact.
01:05And my last question, you know, because I want to talk about the characters, but also your direction of the
01:10actors, obviously specifically Miro and Mamosa.
01:14Is the aspect because, you know, Posse is a very, he's very enthusiastic and he's very wide eyed, you know,
01:22and yet you have Amelia who knows it seems sad in many ways, but she's trying to find joy.
01:29And yet when she tries to find joy, I mean, obviously, I think that's the most beautiful thing after he
01:33sterilizes, she pukes, you know, there's that great dichotomy.
01:38Can you talk about the approach with each of them individually and then them together?
01:42Because together they form a whole, if that makes sense.
01:44Yes, yeah, it does.
01:46And I really felt that, that hole when I was casting, because I first, I wanted to cast Posse first.
01:53I knew that.
01:54And yeah, I was looking at, I was looking for, for an actor who can portray this, this, a character
02:05who has basically kind of lost connection with his emotions or inner life in a way.
02:11And, and, and when you do that, I noticed that many characters, they kind of, they kind of drop everything
02:19and then you, it becomes really kind of monotonous, but, or I don't know how do you spell that in
02:26English, but, but with, with Mira, you felt that even when he drops his kind of outer energy in a
02:33way, you see in his eyes and, and you sense that there is this, you know, whole world or everything.
02:40Everything is happening, you know, at the same time, even though he doesn't let it out.
02:45So he has an inner life.
02:46Yeah, exactly.
02:47And, and, and that also brings humor to it because you see that this is not like, he's not dead.
02:53He's just, you know, uncapable of, you know, expressing it, anything.
02:58And the same was with Mimosa.
03:01But I think with, with Mira, we talked, I don't know, we, we just connected so well when we first
03:08time met, even we met like before we were talking about this film even.
03:12And, and I don't know, there was just this, we understood each other really well.
03:17And there is the same energy in him and me where, where we can kind of like laugh at things
03:23and then we can go really deep into, you know, whatever.
03:27And then we can be really light and stupid.
03:30And, and this was something that I really wanted to have this film also that it can have this, you
03:34know, different levels.
03:36And, and we were talking about the physicality a lot with Mira also, how is he walking, how is he
03:44kind of like reacting to other people in the room and, and like this.
03:48And Mira actually made this really cool, like walk, Pasi's walk that I didn't even realize until he said to
03:56me, like on the maybe fourth walking day, fourth shooting day that, you know, my back is, my back is
04:03stuck because of this, you know, Pasi walk.
04:05And he kind of created this.
04:37Yeah, with Mimosa I think also pretty much this kind of many similar things also with them because in a
04:46way with, with Emilia it's this curiosity.
04:50He has pretty, pretty, I don't know, the, the kind of conflict that he has is in many ways stronger,
04:56but because he, the, he's living in this, in this life and profession where he is actually kind of looking
05:04at the thing that he is most curious about.
05:07And, and, and he's in this constant conflict of that, and that is pretty kind of simple in, in its
05:14own sense to me.
05:15And a lot of times when we were shooting Mimosa's or Pasi's and Emilia's scenes together, you notice that, that
05:23basically Emilia has his own inner conflict that Pasi doesn't understand.
05:27And that was also part of the humor that Pasi actually, because he's not so aware of like sexuality or,
05:34you know, affection or anything.
05:36He's a bit like, you know, he's a bit like, you know, slow in that sense, because he doesn't know
05:39what's going on, but Emilia knows.
05:41So that also brought this kind of humor between those two persons that actually Pasi thinks that Emilia is only
05:48questioning him as, as like an hygiene inspector.
05:52But at the same time, Emilia is having this, you know, kind of also questioning him about the emotions and
06:00kind of the affection between them.
06:04So it was really interesting.
06:06But I mean, when I got them, when I was casting and I got them to the room for the
06:11first time together, it was just, you know, it, it was really like magical.
06:15It just happened, you know, that I was like, I, I, because I always do casting so that I mean,
06:22I'm, I have a camera and I'm just the three of us with the, with the actors, like in this
06:28moment.
06:28So I'm kind of doing a scene with them.
06:31So I really went to this mode and I started to do, you know, new shots and I found, I
06:36got just really inspired with them.
06:38And I felt that I'm a really great director because they were just so great.
06:43I didn't do anything, but I just felt, you know, that, that this can be this, you know, the level
06:48instantly became really great.
06:50And I saw the film kind of like, it just started to live.
06:55And that was, it was like a really magical moment to me.
07:31The sterilization aspect is very, very, I mean, that's a dark concept.
07:36And yet it's made very, very comedic.
07:40And I think that irony is really dynamic.
07:43I mean, you were talking about hers, Amelia is the hygiene coordinator.
07:47And yet that shot, which would be when they come in and spray the couple is very comedic and very
07:54funny.
07:55And yet also very, very dark.
07:57Like it's, it's, it's all determined by pace and how you pace it.
08:02But I'll, if we could wrap up on that and talk about finding sort of the rhythm of the film
08:07in that way.
08:09That's also a really, really great question.
08:12And it was like, yeah, it was super interesting.
08:17We had, we had like many shots where, where I felt when we were shooting that I wanted to do
08:23this, this kind of even like meditative shots of characters, you know, walking in the spaces in, you know, you
08:33can go to like Bella Tarra or something like this, where you have the time to reflect on what's going
08:41on.
08:41And, and, and when we were editing it, it was like, you notice that you have to balance somehow the
08:48comic to the drama, to the comedy somehow.
08:53And, and this was, I think, one of the balances where, where, where you're going, like, how do you, I
09:00mean, it's super interesting to, to, to find that even like you said, the humor many times comes from the
09:08pacing.
09:08That you're just like staying a bit too long in some wide shot of a situation and it starts to
09:15become, you know, comic because you're just basically observing some situation and kind of telling the audience that this situation
09:22itself is, you know, it's a lot, you're allowed to think that the situation is absurd, you know, even though
09:31these characters are serious.
09:33And you could edit that same scene in very kind of like, in a drama way, you know, to have,
09:42have these, you know, closeups and be really kind of following the emotion, like really on the point all the
09:50time.
09:50But I, but that was, I think one of the really interesting balances of, of when to kind of step
09:56back and when to go really with the emotions and when to go with, with the absurd and when to,
10:04with the honest kind of like characters, inner experience.
10:08And I think this was, it was just, you know, finding, finding and trying out and we were doing really,
10:14I mean, the editor Florian Mioske, who is a German editor did really, really great work on that also.
10:21And it was like super nice to just, yeah, it, because it's not so simple with a film like this
10:29that has many levels, you know, this film is like, it's, it's, it's simple in the kind of that one
10:36level,
10:36which I always wanted it to be that you could watch this film just, you know, about a guy and
10:41a girl and an animal basically, or even just the guy who finds an animal, the last animal.
10:48But, but at the same time, there is a lot of these levels going on and, and, and kind of
10:54making this, you know, a film that you can watch lightly as a simple thing, but also giving that food
11:04of thought for the people who want to think about
11:06about the whole concept of human beings and other animals and, you know, nature relationship and, you know, like big,
11:13deep things in a way, I want to kind of balance those.
11:16We also did that a lot in the editing room of when to kind of give that space or to
11:23kind of give that space for the thought, which I feel is when you step back, you also at the
11:28same time, give some, you open a door for the kind of analytical side also.
11:34So, and this is like, yeah, it was super interesting.
