Stars Kirsten Dunst, Channing Tatum, and Director Derek Cianfrance discuss their favorite takes while filming 'Roofman' at THR's TIFF lounge at the 1 Hotel Toronto. Cianfrance shares insights into his directing process by hosting family and friend screenings, while Dunst reveals her favorite comedic scene done by Tatum.
00:00I promise you there's no graceful way to jump up onto a bicycle rack when you're butt naked.
00:04No. I think you did it.
00:06With a camera directly down the barrel of, you know, the back region.
00:12I mean, when you have footage like that, you use it.
00:15You use it. Good to know. Good to know.
00:18So the old adage of like, just give me one for, you know, we probably won't use it.
00:22You know, don't do that.
00:23Is there a moment in this movie where you're like looking for a certain audience reaction, a laugh at the right place or something like that,
00:35that you know they're going to like that that audience gets it?
00:39I laughed when you were rolling down the hill with the cops chasing after you.
00:43That was funny to you?
00:45It was so funny.
00:46That's what I had a emotional part.
00:48Wasn't it supposed to be funny? I thought that was so funny.
00:52Is it kind of long, the chase? It's comical.
00:55I think it's going to be hard for me not to say the naked Peter Dinklage scene.
01:01That's going to be a...
01:02Oh, yeah, that's a good one.
01:03Yeah.
01:03It was longer than I anticipated, that scene.
01:06It was longer than I anticipated as well.
01:09I got to be honest.
01:10I was like, where are we going to cut out of this?
01:12I think you know when you watch a movie when the audience is engaged.
01:17You know, it doesn't have to be through humor.
01:19It could be just through breath.
01:22You know, just through focus, through attention, engagement.
01:25One of the parts of my process is I screen my movie repeatedly throughout editing.
01:32I probably screen it like 40 times to friends and family.
01:36But I try to screen it in as large groups as I possibly can.
01:39Because as a filmmaker, I like to be in the room and feel that experience with an audience.
01:45Because a movie is a communal experience.
01:50Did anyone in those friends and family groups give you an incredibly genius idea?
01:54Always.
01:56But you don't use...
01:57You don't use them until it's their idea.
02:01Exactly.
02:02It's your idea.
02:03Derek creates such an open, like, vessel I want.
02:11It's just like the vibe on set is like, he's there for you.
02:14Whatever you need.
02:16And also, it's so respectful.
02:20I think by far and away it's the most freedom and a container for freedom that I've ever been given acting-wise.
02:28Like, performance-wise.
02:30And, I mean, I've said it a lot, I think, now.
02:33But anywhere from he'd come and be like, I want you to do it like...
02:38I want you to use your hands as much as you possibly can.
02:40Or, I want you to give me the Buster Keaton take.
02:43I want you...
02:43All right, now, give me Jerry Lewis.
02:45Buster Keaton was not the right one.
02:47And now I want you to do the entire take, like, silent.
02:50And it was just...
02:51Oh, yeah.
02:51Our silent takes were very cool.
02:53I actually mentioned that to another director I work with.
02:56I don't know if we...
02:57Did he take it?
02:58Or they take it?
02:59No, because those takes were too long, I think, to do with.
03:03But, yeah, we did a...
03:04We'd always...
03:05Not always, but we'd do a take where we communicated all the things that we were communicating, but without the dialogue.
03:11And even in action sequences, I don't want to give too much away, we did a version of it where I'm yelling and whatnot, but I'm not.
03:19And that was probably one of the more surreal ones.
03:22Like, the quiet scenes felt...
03:24You're like, okay, this is tracking for me for some reason.
03:28But the extreme ones, when they went quiet, got really surreal.
03:32Like, super, super strange.
03:33It's also just process.
03:35Like, I'm just obsessed with process.
03:38And not knowing what...
03:40It's an experiment.
03:42If you're a scientist, you put two elements together and you see what happens.
03:45And you can have a hypothesis for what you think is going to happen, but one of the things you try to do is disprove that thing that you expect to happen.
03:53You spend so much time, like, expecting and telling what it's going to be.
03:57And one of my parts of my process is to watch the movie in my head during prep.
04:01So for this movie, it's like four years of, like, watching the movie every day.
04:05And then I get to set, and I have two of my favorite actors.
04:10I don't want them to do what's in my mind.
04:13I want them to surprise me.
04:14I want to see it alive.
04:16I want it to be fresh and new.
04:18And I'm always thinking about Haley's Comet, you know, because Haley's Comet comes once every 77 years.
04:23And if you miss it, you have to wait a lifetime to get it back.
04:28So I'm thinking about every moment, how do I find Haley's Comet?
04:32Did we all miss it, right?
04:34Like, it's not coming back in our lifetime?
04:35I saw it.
04:36I think it was in the 80s, late 80s, 90s.
04:40I don't know.
04:40Someone can...
04:41That was too many of a baby.
04:42Didn't catch that one.
04:43I saw it.
04:43I saw it, though.
04:45How?
04:46I'll catch it at the end.
04:46Yeah, if you keep doing peptides.
04:48Was there anything...
04:51I want to ask about the peptides.
04:57That's so good.
04:58I'm crying.
04:59I'm crying.
05:00Oh, my God.
05:03Okay, I won't ask about the peptides.
05:05I'm not going to take that bait.
05:06You're going to ask about peptides.
05:07No, I'm not going to let us sit off.
05:08I'm dying.
05:10I'm dying.
05:11I have two snap tendons in my life.
05:12Well, I was going to ask how your bum leg is doing, but...
05:14Yeah, it's doing great, actually, because of all the peptides.
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