00:00Ciao!
00:13Sì, sono Damiano Panattoni da Italia Movie Player.
00:16Ciao!
00:17Ciao!
00:18Ciao!
00:19Ciao!
00:21Ciao!
00:21In the beginning, Stradenberg has a unique cinematic look.
00:26What did he ask you before filming?
00:30Soderbergh has very little to ask of you other than to be ready,
00:33because nobody is more ready than Steven.
00:36Like, you can get there as early as you want,
00:39Steven will be there before you and he is ready to shoot.
00:42He is the one who is always waiting.
00:43So he told us, he gave us the structure,
00:47he told us how he was going to shoot this
00:49and he just told us to be ready.
00:50And we were.
00:52We were.
00:52We did our rehearsing ahead of time, we got our lines all set,
00:55and we were able to kind of live in this house together.
00:58For Lucy?
01:00I think for Steven, he really just wanted us to connect as a cast.
01:06And he never said that, but I got the impression that when he said be ready,
01:10it was that it wasn't just like, I know my lines.
01:13I think it was more that our rhythm, the tempo, the way that we talked,
01:17it was as if we'd been a family from the very beginning.
01:20So it was really a kind of a united front.
01:25Yeah.
01:25We didn't want to disappoint him.
01:27In the movie, we are told that change is good.
01:30In your opinion, why we are afraid of changes?
01:35I think we're afraid of change because we're afraid of the unknown.
01:39We like what is familiar.
01:41And so we find these habits or these patterns that feel comfortable,
01:47and we live in them for long enough that eventually we get stuck in them.
01:50So to change is to grow, and it can be very scary.
01:55Yeah, and I think sometimes, and in this case for my character,
01:59she had to be forced to change by a tragic incident.
02:04And so, because she wasn't probably going to otherwise.
02:08She was very stuck and rigid in how she wanted her son's life to go.
02:15And I think that created a very difficult path and relationship with her husband,
02:22with her daughter.
02:23And I think when you are forced to do something like that,
02:27when you lose something, when you have loss, it creates this space.
02:31And when the space was created, she was able to soften.
02:37The movie is shot in one location.
02:40How has this influenced your way of acting?
02:44I don't think it was so much the location as much as being shot with one lens.
02:52You know, the film was shot on a 14-millimeter wide-angle lens
02:57that was from a single perspective.
03:02And so that definitely, the learning curve on the performance was different,
03:07because we will do different things depending on the size of the lens,
03:10how close the camera is, how far away the camera is.
03:13And this was just one shot.
03:15And I think it was kind of, it was certainly shocking to my system,
03:17starting like, oh, that's it.
03:20There's going to be no edits.
03:20There's going to be no close-up on the phone.
03:23There's going to be none of that stuff.
03:25So we're just kind of living.
03:26And that, it took me the first day of shooting
03:28to kind of figure out how that was all going to work.
03:30It became more of a theatrical stage.
03:33And I think that was, there was a freedom in that for us.
03:36But it was not your traditional filming where, you know, you do the wide shot,
03:42you do the close-up, and then, you know, you can't hide if there's a mistake through editing.
03:47You always expect Steven Soderbergh to do something different, and you've never seen him do this.
03:55Why horror genre or horror psychological today is so relevant, in your opinion?
04:00I think psychological thrillers or psychological, I guess, the poking of your mind
04:13and the internal machinations is more, it's not tangible.
04:19And I think seeing somebody running around with a mask and a knife is, you know, like those are the
04:25jump scares.
04:25But when you can't see it, it almost, it's more dangerous.
04:30And I think that makes the tension of this movie, which David did such a beautiful job with writing that,
04:37is there's more of a, there's more anxiety and there's more of the sort of on-the-edge-of-your
04:45-seat feeling
04:46than waiting for somebody to jump out of the woods, you know?
04:50Thank you.
04:51Thank you so much for your time.
04:53Thank you.
04:54Bye.
04:58Bye.
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