00:00I'm not sure what sense of humour AI has, but I'm sure it will develop one.
00:14I really love the memento mori because nowadays we really don't want to think about
00:20death anymore. How important was it to you to put this in your movie?
00:25It's interesting, isn't it? The technologists, the guys all this world, they're all researching
00:34how not to die, to live forever, aren't they? They're pouring money, huge amounts of money
00:40into trying to live forever. Jeff Bezos, all those guys, they're all kind of crazy to live
00:45forever. And there's something liberating about understanding that we belong to something
00:50magnificent, but temporary. And it's also not only temporary, but it's equal. It doesn't
00:59matter how rich, beautiful, successful you are, compared to a homeless person, you're
01:09all heading in the same place. Your destination is exactly the same. And it's kind of quite
01:16liberating that, especially when he links it, Kelson links it with then that you must
01:22remember, you must love as well, memento amoris. So I find that a kind of very surprisingly hopeful
01:30element within this horror genre. And also within this horror setting of a pile of skulls, which
01:37at first you think is a typical horror ingredient. But actually it's a great cherishing memory of
01:45with all those who've passed. And he wants to remember them and not just discard them.
01:49To me, one of the most horrifying thing that I saw in this movie is that people get used to
01:56everything, even
01:58terrible things. And I think that nowadays, it's really terrifying because we see every day on social
02:04media, terrible images, but we, yeah. Why?
02:08It is, isn't it? It's extraordinary the way that, that was one of the weird things about COVID is that,
02:14as we went through it, initially, I was like,
02:17whoa, and we all behave strangely with masks. And, you know, and when we look back at our behavior, it
02:24seems like, I couldn't believe you behave like that.
02:26But gradually, you get used to it. And you start to take risks and step out. And you just become
02:32accustomed. We're so flexible to sort of absorb anything. It's dangerous, because you lose sight of what's essential value, what
02:41is really important in life.
02:44And you become myopic about your own little progress. And the wider picture, which Kelsen represents in a way, is
02:52much more important, I think. And also the mother, I think what the mother, in a simple way, she tells
02:58him, you've got to remember to, does your dad make you laugh?
03:01And he says, no, he doesn't. And she, and she makes him laugh. So she pulls a funny face and
03:06makes him laugh. And it's a tiny little thing like that, that is a kind of crack in the edifice,
03:13this horrific edifice of defense and manliness and war and violence, killing and protection and isolation and danger.
03:23There's a little glimmer there. And he follows that glimmer, I think, rather than follow his father.
03:29And speaking about things that we are used to, I love the moment in which Spike sees a girl with
03:36plastic surgery and he says, whoa, she's got shell allergy. Do you believe that in the future we will say
03:42what we have done to us?
03:44What have we done to us all? I know, because there doesn't seem to be any end to what's happening
03:49to that kind of technology.
03:52And we're going to morph with AI and with machines. They're going to become part of us.
03:59And quite how we're going to keep our humanity will be one of the questions. Humor is a great way
04:04of doing it, I think.
04:07I'm not sure what sense of humor AI has, but I'm sure it will develop one of its own kind.
04:13But whether it can match our own, I don't know.
04:15And speaking about humor, why Teletubbies? Why?
04:20Well, you have to have innocence in a horror movie. I mean, if you get, well, you don't have to
04:25have anything, but you, if you can have innocence in a horror movie, it's a wonderful starting place.
04:30And what's more innocent than the Teletubbies at the beginning of the movie?
04:35And also, they do return, obviously, at the end of the film in a form that's unusual.
04:42Yeah.
04:42And they return in the second film as well. So if you come back to see the second film, there's
04:48a return of the Teletubbies in that one as well.
04:50And it's to do with innocence and how much of a dynamic range it creates in a horror film between
04:56the horror and between that childhood innocence, in a way.
05:00So that was the purpose of using it, yeah.
05:03They're terrifying, so you're right. Thank you so much.
05:06Thank you.
05:07Thanks very much.
05:087, 6, 11, 5, 4...
05:207, 6, 7, 7, 7, 7, 8, 8, 9, 9, 10, 11, 11, 12, 13, 14, 14, 14, 16, 15,
05:2715, 16, 19, 15, 16, 17, 19, 20, Lincoln.
05:2712, 15, 17, 20, 28, 19, 19, 16, 20, 21, 22, 20, 24, 21, 21, 23, crashed.
05:32Grazie a tutti
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