00:00I am Paul Vardeeve Atreides, Duke of Arrakis, and of the Blue Sea of Zantar!
00:30He who can destroy a thing has the real control of it.
01:01Could you talk about looking at that path of him for you?
01:05For me it's very moving to see Automata evolve in front of the camera as an actor and as a human being.
01:11I think that he's an incredible actor and I'm very proud of the performance he did for both movies.
01:19And I know that during part one I felt that I had to, like if you think of an actor that has a horse, I had to keep him to go slower, slower.
01:32He wanted to push, he wanted to push forward and I kept all that energy for part two.
01:39Where he exploded in front of the camera, where he became that charismatic, powerful charismatic leader.
01:47And for me I was looking forward to witness that and I'm very proud of how Automata brought that energy to the screen.
02:17Madi, Madi. Only tribe leaders can speak. If you wish to share your voice, you must take his place by defeating him and returning his water to the well.
02:35You think I'm stupid enough to deprive myself of the best of us?
02:40Take my life, Uzul. It is the only way.
02:47I'm pointing the way.
02:52Slow down.
03:10I will take your life.
03:28Do you think you could have a chance?
03:30It's not that, Josh.
03:32She hold Chelsea.
03:35She's a hick.
03:36Is she dumb?
03:37Masha Bito?
03:38Adam?
03:39Ashley.
03:43Look, hot.
03:44Sash.
03:45Fatigue.
03:46Kala.
03:47Gosh.
03:48Oh, Zulfa.
03:49Bit.
03:50Nair.
03:51Gabby.
03:52Barta.
03:53What?
03:54What?
04:15Now in terms of pace, because I mean, there's so many large scale pieces, but you want to make it intimate.
04:22What was one of the biggest challenges in that, in creating that intimate story of this man within a war movie like this?
04:30Yeah, the thing is that John Spitt and I wrote the screenplay thinking about the idea that the whole structure of the story will be based on the relationship between Paul and Shani.
04:47Through their love story, we unfold the whole tragedy of Paul and the drama and geopolitical drama of the movie.
04:54And that being in the art, I kept saying to my crew that it will be my focus, that I will try not to be distracted by the VFX or the big scale that are in some ways easier to do.
05:09So I really tried to make sure that to have all the necessary elements to make sure that this relationship will come to life and will move the audience.
05:21And because through the dynamic between both of them, the movie is born.
05:29Is that okay?
06:00She's game shoddy.
06:15This is my father's ducal signet.
06:17I am Paul Mwadeeb Atreides, Duke of Arrakis.
06:31But it's also the structure.
06:33I am the son of Arrakis!
06:37I am the son of Arrakis!
06:41I am the son of Arrakis!
07:02Where did you find the necessary to find those details?
07:06The details you wanted to make sure ultimately were included in both these films?
07:10In order to protect some of the details you're talking about, I had to make bold choices.
07:16And one of the first choices I had was to make two movies instead of one.
07:22So I will have more screen time, obviously.
07:26Then also I insisted on the idea that these two movies will focus on the Bene Gesserit sisters.
07:34For the people who know the book, we know there's a lot of different aspects that I didn't bring to the screen because it was too complex.
07:44I tried to focus this adaptation on the Bene Gesserit sisterhood.
07:52And so that allowed me to try to protect some of the poetry that was in the book,
08:01like some elements of the ecosystem, some of the characteristics of the biology of the planet,
08:10some little details about the Fremen culture that I wanted to make sure that it would be on screen.
08:17Tiny details, tiny shots that readers will catch and understand where it's coming from.
08:47You should have believed you chose the wrong side side.
09:01You of all people should know there are no sides.
09:07Reverend Mother.
09:27The life that has been paid, spare my father now and I will be a willing bride.
09:31The throne will be yours.
10:31And my last quick question is about poetry.
10:50You said poetry. It's about being lyrical.
10:52It's about having a flow and almost a dance.
10:55I mean, when he's there dancing across the sand and walking, that's dance.
10:59Can you talk about the importance of movement and movement of a film
11:03and how that sort of ingrains itself in the heart of the audience?
11:06I believe that the art and it's the essence of cinema is about the language.
11:13It's based on the movement you're talking about.
11:18This idea, it's a dance between the actors and the camera.
11:21And it's a try to create images that will have a poetic meaning
11:26that will not necessarily be conveyed by dialogue.
11:29And I'm trying to bring as much as possible as any filmmaker, by the way.
11:34I have nothing original to say here.
11:37I'm just like the others trying to do as much as possible
11:41with the power of the language of cinema.
11:44And that is something that I'm trying from one movie to the other
11:48to increase, to try to be able to express myself through cinema.
11:55And it's a long quest, long journey to be able to...
12:00I hope one day we'll be able to make a movie with as less dialogue as possible.
12:04Your father...
12:11was a weak man.
12:16You'll cruise back from the dead.
12:19No do must be done.
12:23We gave them something to hope for.
12:24That's not hope!
12:31I will love you as long as I breathe.
12:34This prophecy is how they enslave us.
12:39It's not a prophecy, it's a story.
12:41I don't care what you believe, I believe.
12:54AVAILABLE NOW
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