00:26This is Tim Wasper from Fast Track on CERC TV.
00:29I'm here in Austin, Texas for Fantastic Facts.
00:32And it's a transference of responsibility, of course.
00:35Yes.
00:36It comes in with ground.
00:37Emma doesn't want to take care of her.
00:39Max is very empathetic to it.
00:41And yet responsibility comes in the face of losing control.
00:47First of all, I was looking for the actors who will be able to convey this unease, but
00:55also intimacy and they would be able to do it in very limited and modest means in a very
01:04natural and honest way.
01:06And who would be able to evoke empathy because it was very important for me to, like, I mean,
01:12the film is pretty dark and it touches on some sensitive stuff, but I wanted it to feel
01:19also gentle.
01:21And for me, like, I didn't want to, you know, use it as a shock value or something like
01:29that, but wanted to create this bond between the viewers and the characters and this certain
01:36closeness.
01:37And so, and I think these incredible people are able to do it.
01:46So, I had a great base to work with.
01:51And, well, I think that we spent some time talking about the characters, the scenes, the
01:59layers of the text and discovering something new.
02:04And we also allowed ourselves to depart from the script, not that much when shooting, but
02:12beforehand, like we did improvise a bit.
02:17And I think it also helped us to dig deeper into the characters and on the sets.
02:25I think that we will all trying to maintain and combine both like the very, like, extensive
02:36preparation that we had with a sense of spontaneity and trying to act on whatever comes the moment.
02:45And they were, like, super, they felt it, like, very well and very intuitively.
02:53I mean, not only intuitively, but they were just brilliant.
02:58So, my job was to give very specific directions.
03:27Like, like, what kind of direction would you give?
03:35Yeah.
03:36Yeah.
03:36Because she's teasing him.
03:38She's teasing him.
03:39Okay.
03:39But he is also trying to see, like, what's real.
03:42Yeah.
03:43You know?
03:43What kind of direction was that, per se?
03:47If you remember, but that kind of.
03:48Yeah.
03:49I don't remember that much.
03:50I remember this was actually very technical scene to shoot because of the rhythm.
03:57Like, most of the scenes are shot with one take.
04:00So, it requires a very precise staging and everything in terms of rhythm because you're not able to create it
04:09in editing.
04:10Yeah.
04:10So, I remember it was surprisingly difficult scene to shoot in terms of rhythm.
04:18Like, when the camera gets closer, what should the moment, like, the exact moment, what should it be?
04:24And so, it was very technical.
04:27But I remember that we tried to convey this unease and this tension that he's trying to, like, he's feeling
04:35inside and her, like, using it and noticing everything.
04:41Like, the tension and playing around it.
04:46And also, Conrad, I remember it very clearly.
04:49That's something, like, just wonderful when we were shooting because the scene is super tense and, yeah, like, very loaded.
04:59But during one take, he, I don't know if you forget your flippers or you, but he just came back
05:10for the flippers.
05:11And by doing so, he introduces a certain humor to the scene, which wasn't intended.
05:18And I just saw it and was, wow, that's incredible.
05:22We have to go for it.
05:24So, it was something that we were trying to find on the spot.
05:28But what we aimed for was creating this tension.
05:46Max.
05:52Because you want to create this awkward humor.
05:55You want to create this imbalance.
05:57Because she's grown up and she almost probably wants to regress.
06:02Whereas he's trying to find, he's losing his innocence and becoming grown up.
06:09But that's an irony that's playing with.
06:11Yeah, I think Emma, she's a lonely person.
06:14And, you know, this movie and this world for me also is a world without parents, without adults.
06:21The grandmother who was supposed to take care...
06:24Without rules.
06:25Without rules.
06:25And the grandmother who was supposed to some kind of, maybe in the other world, in the other story, take
06:32care of the children.
06:33Now, we had a reverse.
06:36Like, the children have to take care of the adults.
06:39The mother, she's not there.
06:41So, they're only with each other.
06:43They're seeking attention.
06:45They're seeking love.
06:46They're seeking care.
06:48And the bond.
06:50And they're really lonely.
06:52And they some kind of found each other.
06:56And yeah, I think about it that way.
06:59Yeah.
07:00I think that the grandmother is the, like, the main thing that was building the tempo and the rhythm of
07:12their, like, feelings.
07:14So, she was the catalyst.
07:16Yeah.
07:16Yeah.
07:17And yeah, as I said before, she's like a metaphoric form of growing up.
07:23So, when she's, like, having, like, when she's making pancakes with Emma, she's in very good shape, in very good
07:36condition.
07:38But, like, yesterday and the two days before, she was laying in bed and, like, not giving any, you know,
07:47living form.
07:48That was in your rhythm?
07:52In Max's rhythm?
07:54Yeah.
07:54That she was, like…
07:56Yeah, it was flipping.
07:57It was flipping.
07:58Yeah, absolutely.
07:59Yeah, I think.
08:00Because, I think when grandma is taking care of us, then his feelings, like, works faster.
08:13And, you know, that's the main thing that makes the, you know, whole, like, the last scene that looks like
08:22itself.
08:25Yeah.
08:40And, you know it wasn't even more.
08:41The, you know, that's the thing that looks like.
08:45No one ever.
08:45That's what I love.
08:45That's what I love for you.
08:47I love you.
08:48I love you.
08:49I love you.
