00:00You're never like, you know, moved by your own work ever. This guy, I don't know, he's
00:05just heartbreaking.
00:06I have a cigarette, a drink.
00:08Make love?
00:09Yeah.
00:10You can f*** off.
00:11Hello, I'm Lucy. How are you doing?
00:13Hi, Lucy.
00:14Can I just begin by saying congrats, guys. How was the celebration this afternoon when
00:17you found out that I've got my jacket off you today?
00:20It was nice. We had a glass of champagne.
00:23We did a lot of more interviews, but we had a little bit of celebration.
00:28Another way that you're putting Brutalism on the map, our very own King Charles is not
00:32a fan. Have you heard that?
00:34I haven't, but he can f*** off.
00:36He said it's a great role.
00:38He doesn't like modern kind of structures like that. Have you fallen more in love with
00:42just structures and things, especially in London? Because you went to the Barbican today.
00:46Oh, so beautiful.
00:47How do you feel about everything you see?
00:49It's incredibly moving. Also, I was at Marcel Breuer's flat at the Isakson Flats, where
00:53also Agatha Christie lived and Laszlo Moholy-Nagy. You know, I love London. It's an amazing city,
01:00and we did our post-production on the film here. This was a UK co-production, so this
01:05is actually a particularly moving evening for us because we get to share it with our
01:08UK team.
01:09Amazing. When I came out of the cinema, I was looking at everything way more in depth
01:13than I looked at it before, looking at building shapes and sizes, and hopefully it's going
01:17to really inspire some architectures out there. How do you feel about that?
01:20Really wonderful.
01:21Yeah, I mean, you know, there's been an extraordinary reaction from a lot of architects that really
01:28informed this movie. I mean, Daniel Lipskin, who is responsible for the Jewish Museum in
01:34Berlin, as well as, of course, One World Trade Center in New York, wrote a piece about the
01:41film that for us was extremely validating because we did really do our very best to
01:47acknowledge each part of a very, very rigorous and demanding process.
01:52And I think the length is perfect. I know it's long. Everyone's talking about it, and
01:55I loved the break. Thanks for that. What ideally should we be doing in that break, do you reckon?
02:00What's your message to audiences?
02:02Have a cigarette, a drink.
02:04Make love.
02:05Yeah, make out.
02:07A bit of a quickie.
02:09A bit of a quickie.
02:10Yeah, a bit of a quickie.
02:11Although I hear you've got a half an hour break tonight, so there you go.
02:15And I've got to ask you about Eugene. What an incredible man. I just felt everything
02:21with him. How on earth did you cope with- You must have used a lot of tissues on set
02:25crying at this man. He's amazing.
02:27You know what? Actually, we did. Like, that never happens. You're never, like, you know,
02:33moved by your own work ever. This guy, I don't know. He's just heartbreaking in the movie.
02:38I mean, I love the entire cast. They're all so great that they start to cancel each other
02:43out.
02:44How did you feel that everyone thought this was the biggest production ever? I spoke earlier.
02:48Apparently, it wasn't actually that big in regards to scale of things.
02:52Yeah.
02:53How did you do that? Was it Lego?
02:55Well, kind of. I mean, you know, there's a lot of old school techniques. I mean, the
03:00building was, you know, it's a combination of things. It's a practical model as well
03:06as, you know, a piece of the building which was actually built to scale and then extended
03:11digitally and post. But most of the tricks are, you know, have been around since, you
03:16know, Star Wars. I mean, even long before that.
03:20Yeah.
03:21Metropolis.
03:22Love that. And when you win the Oscar, are you going to cry? Who are you going to thank?
03:25Have you practiced your speech?
03:26Oh, who knows? That's very sweet to say, but-
03:28Don't be so modest. Come on now.
03:30No, no, no. For sure. I mean, you have to understand that as recently as four and a
03:33half months ago, this film had no distribution and I was actually being told that, you know,
03:39specifically that the film was undistributable and that, you know, it would never work. It
03:44wouldn't happen. So the whiplash that we've been experiencing in the last four months,
03:49it's been, you know, it's been great, but we're still, you know, getting over the PTSD
03:54of the last seven years that it took to get the movie off the ground, so-
03:57Are you smucking the back door?
03:59Yeah, we smuggled the baby across the border.
04:02Look at you now. Thank you so much.
04:04Thank you so much.
04:05I really did love it. Thank you.
04:06I really appreciate it.
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