00:08Il libro di Sottotitoli
00:09Niente di cui potrebbe dire che il predestinazione è di un problema
00:13Non ho capito cosa è di un problema
00:15ma mi piace di capire
00:17Lo scopo
00:19È basato su un libro di Sottotitoli
00:22in 1959
00:23All You Zombies
00:24che è un po' di scopo, perché è un po' di scopo
00:27che non è un po' di scopo
00:28che tutto l'umanità è praticamente un funzionamento
00:31e un po' di scopo
00:34e uno potrebbe pensare
00:36che è un po' di interconnessione di man
00:39uno potrebbe pensare
00:41che è un po' di scopo
00:43di un po' di scopo
00:44ma è un po' di cose
00:46ma è un agente
00:49che è lavorato in tempo
00:50e è un missione per farlo
00:53che è un po' di scopo
01:07questo è un po' di scopo
01:08che io sono aperto
01:09e mi sono별 di spedere
01:15very clearly that they have a unique voice in movies and it's hard to say what that is
01:25but when people have a voice whether it's in writing or music or anything in cinema you
01:31kind of feel it and they have something that's unique to them that I really respond to and I
01:36think they're really smart and funny and they have the same taste in genre movies that I do
01:42which is a certain kind of genre movie that is just stupid and designed to waste your time and
01:47help you get to death more quickly without thinking and then there's another type that
01:52can entertain you and be wildly entertaining but also leave you with a subcurrent of something
01:58to think about which is slightly better than you know a movie that's designed to be deep or
02:03meaningful or something like that sometimes feels like it's teaching you and it's a little boring
02:07and it's not what you want to do after a hard day's work and but if a movie can be
02:13simultaneously
02:14really entertaining and be about something it it can hit the bullseye for me uh and I think Peter
02:22and Michael have an eye for that and so anything I heard about this movie was heard through the eyes
02:28of me was heard through their voice and so I was inclined to like it because I like them
02:49well one of the things that's hard about doing these things is that that is the process that
02:53is happening it didn't happen you know so we don't really know we don't know to what extent
03:01we're uncharted territory you know there's no kind of rule book for how to do that our our characters
03:07are either oddly similar or exactly the same depending on how you view it um
03:15and there's no rule about how we're supposed to do that um for people that are familiar with the
03:21short story all you zombies it won't be such a mystery you know uh and for us I think it's
03:29always a
03:29question of differentiating yourself and finding some kind of sameness but hopefully the sameness
03:37will really come from the from the tone of the movie
03:52well one of the things that makes this movie so unique is uh that about 50 percent of it takes
04:02place in this bar
04:03and yet the film itself travels over 60 years and wild events and uh but it's all centered around a
04:14very
04:14simple simple story being told while two people get drunk so that in itself is kind of unique and a
04:22nice
04:22device for a movie uh but again I don't really know how to describe that because we're trying to figure
04:28that
04:28out now it's a very difficult thing to do I remember I've had to do similar things if you do
04:34the movie
04:34right people don't really notice it but training day is a film I did where about 70 percent of it
04:39happens in the front seat of a car uh if you make the movie right nobody really thinks about that
04:44but it all has to happen in the minutia of two characters interacting with each other and if that
04:50stuff is real and that stuff is interesting then it doesn't matter if you're in a subway car or you're
04:54walking on the street you know it doesn't it doesn't matter the hard thing is making the characters
04:58interesting and having them respond to each other in an interesting way
05:15this movie is
05:18the fun of it is how much it plays inside different genres
05:22in different you know one aspect it's from noir another aspect it's sci-fi
05:27and you know there's something about the old gangsters with their tommy gun in a violin case
05:33that is a great image and to have a time travel kit be in your violin cases
05:38and there's something about music that transports you through time
05:41and I love that kind of idea that it's just music
05:57yeah you know I'm of that theory there's no terminator movie that's better than the first terminator
06:01you know the more money they spend and the more amazing the effects get somehow for me
06:07they're still fun but it's certainly not as good as the first one
06:12and I'm not exactly sure why that is but a lot of the times if you don't have money
06:16to throw at a movie then you have to throw ideas
06:19and then you just start scouring your brain for a better idea
06:24and if you have money then why have an idea
06:27because we could just make this whole bar turn into water
06:29and then it would evaporate and you know you can see
06:33zombies would fly in you know whatever you can do anything
06:35but I always think all my you know the new Star Wars I really like them
06:44but I like them a lot actually but they're not better than the old ones
06:49you know at best they're on par
06:51you know and it's never effects and stuff that make a film interesting
06:58they can work with effects it can be an addition
07:00but most of the time people try to rely on that
07:03just I don't know why it makes up for not having an idea
07:20that's what I find most captivating about the movie
07:22or anything having to do with time travel
07:25is the nature of fate and the nature of free will
07:29and why is it in our lives that every time something's happened
07:32it feels like it was inevitable
07:34like that was the way it was always meant to be
07:36and yet when we're imagining our future it seems
07:39as if it could go in so many thousands of directions
07:43I think that is at the essence
07:46of what is interesting about the idea of predestination
07:54I don't know
07:55I responded to it because it's just thought provoking
07:57and entertaining at the same time
08:08and entertaining at the same time
08:10well my greatest wish for every good director I've ever worked with is I wish I could bestow on them
08:17the gift of having a twin
08:18and they could work with their twin
08:20because most directors let's face it if they're good turn into kind of megalomaniacal assholes
08:25you know most of them they think they know everything and they understand everything
08:30but Peter and Michael have the benefit of their brother sitting next to them like
08:34well that sounded obnoxious
08:35so they can well did you really think that through
08:37and they test each other
08:39and they keep each other humble
08:40and they keep each other hard working
08:43and
08:46it's a wonderful gift
08:47to have a best friend
08:52support system
08:53you know it's all those things
08:55geared up in a twin
08:56I see why
08:57I know they're not twins
08:58but Joel and Ethan Cohen work together
09:00it's a neat idea
09:03to work in partnership
09:04really helps
09:06because film is just such a naturally dictatorial position
09:08the idea of a shared thing
09:10it helps the whole thing
09:12because you can agree with Michael
09:16while disagreeing with Peter
09:17or agree with Peter
09:19and then you know
09:19I mean it's fascinating
09:20there's a lot of little avenues
09:23for collaboration to happen
09:25that aren't normally possible
09:27unfortunately for them
09:28they have to split their salary
09:29which is a drag
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