00:05io sarò la prossima vicepresidente quando Bradley prenderà il posto di suo padre tuo padre le
00:12promise una promozione è vero come dirigente in te non vedo alcun valore first of all i would like
00:19to know what fascinated you most of this project of this story what made you decide to do this film
00:28well i was really fascinated with an element of it which i don't know if people will find to be
00:33the
00:33most attractive or reason to go see a movie but as a writer and a director i wondered if i
00:39could
00:40make the audience identify with our underdog protagonist for a certain amount become to really
00:47love her and then once the power hierarchy drops away and he's no longer the boss and she's no
00:55longer the worker watch her grow in power and start to admire her as my hero versus just someone i
01:02identify with and then i wanted to really push that so she's really my hero and then i wanted to
01:09know if
01:09i could completely change audience identification with the main character and at 180 degrees i wanted
01:16to know if it was possible for them for him to become her their favorite character and her to
01:21become the antagonist and then i wanted to know if i could switch it back again after i'd done that
01:26and back yet one more time how much could i manipulate the audience as i find these horror
01:32films i make manipulations i make them a little scared here i'll give them a little clue as to what's
01:39to come who is this what is this ring doing here this old lock of hair and now as they
01:44move through the
01:45shadows of the shadows of the hallway it gets them so that's all manipulation stuff and i've tried
01:52different formulas of that in different orders for horror movies but because this movie asked me to
01:57make a whodunit don't know what's coming next i felt the greatest gift i could give it was who do
02:04we
02:04follow next it really could be if done right a movie where the audience has no idea what's coming next
02:13and and that's what i that experiment worth it or not i can't tell you even why i thought that
02:19was
02:19fascinating was um the experiment here of this picture
02:24sender is a survival thriller but it's also full of blood and really really really really fun
02:30uh was it time to find the right balance the right tone for the story
02:36yes it's always the right um it's always the question that's in the air in the writing stage
02:44sometimes i would shoot something that's it's too funny it's obviously a joke and i have to
02:49then reconstruct it let's pull back so it's not so obvious it's still going to go for a laugh
02:54but it's got to stay within the audience realm of believability and this pushes it too far but we
03:00always wanted to have laughs and suspense and i've learned through my filmmaking history as a
03:06filmmaker who only made comedies to one that had to learn to make horror movies that
03:10i can do both in one and it's actually the most natural for me
03:23in terms of casting how did you work with rachel mcadams and iran o'brien and
03:33how did why did you choose them for these rules i had worked with rachel mcadams on doctor strange
03:40two uh she's recreating a part she played in the first one but then i saw in our story she
03:47had to
03:47become a multiversal unit version of herself so certain elements of her backstory had changed
03:52certain feelings she had about her loved one etc and i saw her then play this second character
03:58so close to the first one but changing only those elements that her backstory had suggested
04:04and i saw her be a almost completely different human being but really the same human being with
04:09those changes and it was fascinating and then because of a reshoot we had to make a third
04:14multiversal character of her and again i saw her change based on the new backstory in subtle ways
04:21that only maybe the writer and the director really would be aware of and it was a beautiful performance
04:26and i thought i've got to work with this woman again she's so talented
04:30my final question is about music i like the score made by danny efman did you give him some specific
04:41requests what did you have in mind i we always have a spotting session before our movies
04:47where i always am the student in his great professorial approach for instance i'll say danny
04:55dark man drops his head here his heart is broken and he'll say no no i'm not coming in with
05:00the
05:00music there i said then where are you going to come in he says i'm going to let him drop
05:05his head
05:05let the audience feel it one one thousand two and then i'm going to come in under with the strings
05:13they're already there but this will lift them to the next level they won't feel pushed
05:17and i go wow okay that sounds great so on the next picture we work on spider-man i say
05:24danny
05:25i want uh peter parker's heart is broken and he drops his head and i don't want you to come
05:31in
05:31with the music here i want you to wait one one thousand two one thousand to let them feel it
05:36because
05:36i was throwing his own back at him and he goes no i said what he said let them feel
05:44it that's right
05:45but now when the camera moves we come in with the horns and i thought oh that is so awesome
05:52he's always different he's always right and he's always teaching me there's no right or wrong but
05:58he just instinctually knows music and movies and storytelling and the sad piece i say we play me a
06:05sad violin piece for no but i will play you a sad oboe here for him because he knows that's
06:10even a lonelier
06:11sound um but he's really a master storyteller master technician master composer a master row as they say
06:27credo che dovremmo restare qui
06:41so
06:41so
06:51so
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