00:00Ah, Murray, un piccolo favore.
00:02Sì.
00:03Quando mi farai entrare, mi annunceresti come Joker.
00:29Ah, so, it was very exciting.
00:32Perfect, because in your movie, there's a reference to Alan Smooth, The Killing Joke.
00:37Arthur says that he has had a really bad day.
00:40So, I wanted to ask you, do you really believe that a really bad day can change our life?
00:45No, I don't.
00:47I think we can probably get through a bad day.
00:49In that case, you're right, it was a little bit of a reference to, or a reference to Killing Joke,
00:54that all it takes is one bad day.
00:59But I don't think that, no.
01:01This Joker is really enigmatic, really mysterious.
01:04I think that anybody can make a picture of him.
01:10It's almost like a Rorschach test.
01:12What do you see when you look at this Joker?
01:15I mean, I see somebody who is a complete and total narcissist who just wants to be loved.
01:24Hmm, it's interesting, because Gotham City has never been so dirt, so full of rubbish.
01:32We have super rats in this movie.
01:35Okay, so why did you want to be, to have such dark Gotham City?
01:40Uh, I just wanted it to feel like a city of a broken down dreams, and a city on the
01:45brink.
01:46You know, I wanted, what's really important in the movie is tension, and tension can be done in a lot
01:53of ways.
01:54Tension can be done with music, but tension can also be done in just the feeling that the city is
02:00on the brink.
02:00So, that's pretty much the reason for it.
02:03I also think, aesthetically, it kind of looks beautiful.
02:07Yeah.
02:07You know?
02:08Yeah.
02:08It was fun, making a movie that is almost like a musical, a tragedy, a comedy.
02:15How fun was it?
02:16I mean, yeah, we had a blast, even though it's a very dark movie at times.
02:20Every day, Joaquin and I, at least, were laughing all the time.
02:24And I think it is that, that mix and the unpredictability of where the film is going, or where his
02:30character is going, that made it so fun.
02:33But you're right, it's basically a dancing tragic comedy.
02:37Yeah, yeah.
02:39You were speaking about music.
02:41This music, this soundtrack is amazing.
02:44Thank you.
02:44I really love it.
02:45So, I want to ask you, how did you put all these different styles together?
02:51You know, I just, I think I said to you, you know, music is such an important tool that filmmakers
02:55have.
02:56I mean, as is costume design and, and, and, and locations.
03:01But, but music in particular, for me, has always been a really big one.
03:05And it all started for us with Hildur Gudunitor, who is the composer of the film.
03:10And I had heard some of the work she did on a movie, Sicario 2, I don't know if you
03:15ever saw it.
03:15And I really loved what she did in that movie and I called her up and, and, and I sent
03:19her the script for this.
03:20And once she started playing, she plays cello and she, I guess it's cello, and she, uh, started sending me
03:27stuff and I just fell in love with it.
03:29And it really dictated the tone of the music.
03:32It was fascinating for you, um, that this character speaks, not, um, with his voice, but with his movements, dancing.
03:40It's like, uh, a, a dialogue so interesting was for you.
03:44I, it was really key again, just like the music, something I said to, uh, uh, Joaquin early on is,
03:51um, that Arthur has music in him.
03:54And, uh, that, that when Joker feels like it's coming out, it should be done through dance.
04:01And that was something we just talked about really early.
04:04Okay.
04:05Thank you so much.
04:06Thank you.
04:06Good to see you again.
04:07Thank you.
04:09Send in the clowns.
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