00:00With a movie like this,
00:27it's about logistics, both in performance, technical,
00:31but also in pacing because it has to sort of flow the way you guys do it.
00:37Brock, first, if you could talk about sort of creating sort of that milieu
00:41to be able to do it, you know, sort of building that.
00:44And then obviously with Andrew, you know, it's about, you know,
00:48shooting and all that kind of stuff, but then you have to capture Dakota.
00:52So it's sort of three prongs.
00:53So if Brock, you could start Andrew and then Dakota.
00:58Sure.
01:01So I wrote, directed, and edited it.
01:05I've been editing for 20 years.
01:07It still feels weird to say edited it.
01:10So like pacing was always kind of like had to be at the forefront,
01:14like throughout the entire process.
01:17And when we got to the point of cutting it,
01:20there were like five different renditions of the film.
01:24One where it just like you're moving through it.
01:25You're like really powering through it to, you know,
01:28there's this fear of like, does, are people going to get fatigued in this trailer?
01:33And it was like just something that was very easily quelled by showing it to someone.
01:37They were like, no, I loved being in that space.
01:39And then it was like, okay, we don't need to power through this trailer stuff.
01:42Like we need to be in that space for longer and have those moments where Dakota's sitting there thinking
01:48and just like taking it, taking in the experience.
01:52So there was like, you know, a lot of it was, you know,
01:55like they say that there's the three movies,
01:56there's the written, the produced, directed, and then the cut one.
02:00And I think, uh, it changed a lot in pacing, like each time.
02:13And ultimately where we ended up was we wanted to build the most amount of tension and dread
02:23inside of the trailer that we possibly could.
02:25And I feel like how that needed to happen was having boom, boom, boom moments,
02:33but also moments of like quiet reflection and like internalizing fear,
02:37because this film was very much about like identity and also like dealing with trauma and,
02:42you know, uh, loss and all that.
02:45And, and she's got her baggage that she's bringing on to the,
02:48I don't want to speak to her, to Dakota too much, but, you know,
02:50she's bringing her baggage onto the trailer.
02:52So to say we had to give those moments of pauses, pregnant pauses, no pun intended that,
02:57you know, that, that she has a second to where we're just kind of with her being like,
03:03what is going on, you know?
03:05And then we're snapped right back into it.
03:06So it was like about finding those, like the push and pull and dynamic in the,
03:10in the pacing.
03:10But, um, yeah, it was a lot of trial and error.
03:13Um, and just like trying to figure out what we were trying to make people experience at
03:19the heart of it and what it ultimately ended up being and always really was,
03:23was dread and anxiety and tension.
03:28Who are you?
03:29I wish I could tell you what you want to hear.
03:38But it's also the details, you know, um, Andrew, if you could talk about it,
03:41because I know when we get to Dakota, you get, there's so much, um, things to unpack with
03:47this character.
03:48Um, but can you talk, uh, Andrew about the details?
03:51Because capturing certain details, obviously that was important with Brock, but like,
03:54whether it be the needle, the handcuffs, you know, the photos, all these things had to
03:59reflect, but even, you know, with Dakota, with, when the shirt's overhead and she's,
04:04you know, looking through, trying to see like a haunted house, it's very specific.
04:09Could you talk about that?
04:10And then I'll go to Dakota.
04:11Yeah.
04:12I mean, I think, um, you know, this is kind of building on the first question and Brock's
04:17answer.
04:17I think the guiding light was always, uh, Lena's perspective and experiencing everything in
04:24the film through her perspective.
04:25So, cause it's so closed off and kind of like always pulling back on information, uh,
04:31that, you know, if she doesn't have the information, the audience shouldn't have the
04:34information so that we can always ground the audience experience in Lena's experience.
04:38And that's why those details were so important.
04:41And, and, you know, to be frank, we actually went back and did a number of pickups because
04:46some of those, uh, inserts and some of the kind of more, uh, like those little, little
04:51moments that Brock was talking about that helped build that tension.
04:54And that pacing, we didn't, we, we didn't have time to do in our 12 days of principal
05:04photography.
05:05So, so it was really important to find that.
05:08And that, that really helped kind of bring her world to life.
05:10And I think bring the trailer to life.
05:12And then like, you know, a director tells you like, we're doing a movie, um, and the sun
05:18is not in a single shot, uh, as a DP, it's kind of a double-edged sword, right?
05:23You get really excited because it means every, every piece of light you have control over.
05:26Um, but also it's, you know, it's hard to light in a, in a little tiny box.
05:31So we were really, you know, we, that entire trailer was built out, um, with, you know,
05:36we basically had the shell and then kind of built it out to our specs and like put our
05:40lights in it, which helped us, uh, you know, control, control the space, um, such that we
05:45could really carve out not only the, those kind of like detail moments, but also kind
05:50of like give each section of the trailer kind of its own feel, even though you walk
05:55in and you feel like, you know, Dakota and I would walk onto set and it was like, we
05:58were like on top of each other immediately.
06:00So, but like, you know, we would, we did everything we could to still give it, um, to make every
06:06piece of it feel like it was kind of like, again, grounded in her journey and following
06:10her kind of psychological experience through the movie.
06:18But I can't.
06:20Yeah.
06:21Could you speak about that?
06:22Yeah.
06:22And the psychological experience because it's claustrophobic, but you have to be powerful
06:27through it, but you have to be being hit by all different sides of what you're feeling.
06:31You know, how this is moving through your veins and obviously everything else going around
06:36relationships, mother, father, guy up front, all this.
06:40Could you talk about?
06:42Yeah, there are a lot of variables you're all right to consider because it was like,
06:46okay, I'm in pain, but knowing like certain things that happen in the movie, it's like,
06:50am I feeling the pain to this intensity at this moment?
06:54So just really, I mean, our communication was constant, uh, in working together.
07:01I'm just, what are we trying to capture in this moment and how does it play into the grander
07:06story?
07:06Because also this moment may not be rooted in reality.
07:12So it's, it's kind of figuring that out.
07:15And I just knew because of the intensity it would ramp up to, to start in a place that
07:21was a little more contained, which was within a contained environment.
07:25And then having these moments of outbursts to like indicate what was to come.
07:31That was what I wanted to mine out.
07:33And I think the internal struggle of Lena was really fun to play with because it's like,
07:40no one knows what she's thinking or feeling.
07:43And I think that leads to the mystery of like, what is her deal?
07:48Like, where did she come from?
07:49Like, who are we supposed to trust in this scenario?
07:52And so I, I didn't want to approach it too much in like this, if this situation was exactly
07:57with the information we have, as it is, this is the reaction because it's not that at all.
08:13Like, who are we supposed to trust in this scenario?
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