00:00I've watched your body of, most body of work that both of you have done.
00:04Is this the goriest yet?
00:07I think definitely for me it's the goriest.
00:10The, yeah, bloodiest, the most, yeah, I would say yes, for sure.
00:16Yeah, for me too.
00:18Yeah.
00:18Yeah, I mean, I've done, like, I started Nightmare on Elm Street Part 3 and all of that.
00:23Oh, that's true, yeah.
00:24But still, I think this is gorier.
00:26Because this is also, gore is kind of a character in this, you know?
00:31It's part of the comedy, it's part of the kind of martial arts dancing aspect.
00:39Yeah, it was amazing.
00:41All the genre combining, I mean, Carol, what kind of a director is he for you?
00:46He is very sort of beauty-oriented in how the film looks and even in the gore.
00:55Like, I, he, it's curated and the way something was bleeding was also, like, decided and chosen
01:03and, you know, the color of the blood was, like, a big thing of, like, is this too dark,
01:07is this too light?
01:10And so he had a very strong idea of how he wanted this to feel and so he was definitely,
01:18for me, a big kind of guiding light on, yeah, the whole tone and the feel of this movie.
01:23He's also really, really exuberant of a director.
01:28Like, he had such a specific eye when I first saw his first film.
01:31It was like, oh, wow, this guy's really got kind of an originality, understands his editing
01:37and what he wants, how to kind of build tension or, you know, bring humor to dark moments.
01:45And also, you know, where he puts his camera.
01:47So he was very facile with all of that and knew exactly what he wanted.
01:51But he was also very, like, yes, we got it!
01:54I was so excited.
01:54We got it, yes!
01:56Yeah.
01:56You know, it was really a joyful thing to be on the set in this kind of crazy movie.
02:03And then if you didn't got it, you would also know.
02:06He was very honest, which was good.
02:08I like that.
02:09I'm like, yeah, let me know.
02:10If it's not working, it's not working.
02:11If it's working, he was all energy, so.
02:15Yeah.
02:16Yeah, I mean, that works better, right?
02:18And people go like, oh, yeah, that was okay.
02:20Yeah.
02:20And then you're in the editing and you're like, no, it didn't work.
02:23Yeah, yeah.
02:23Might as well just be direct in the moment.
02:25So, and there's, I think that the whole building itself was, wasn't actually in a building?
02:36Was it a set?
02:37It must have been a set, wasn't it?
02:39Yeah.
02:39Because the whole thing, like that whole labyrinth with the, where you're crawling.
02:46Oh, yeah.
02:47The building and that kind of thing.
02:48I was like, my God, how did they film this?
02:50It was amazing.
02:51There was one building lobby that we shot in and then the rest were all sets.
02:57Yeah.
02:58You never had to do the crawling.
03:00You know, you didn't have to do the, yeah, it was all separate sets.
03:02So we would do the hallways.
03:05They would like shoot a sequence of whatever needed to be shot in that hallway and then
03:09they would transform it into the next hallway for another sequence.
03:12And they kind of kept, basically, as we were going through the floors of the building, they
03:19would reset, they had like one hallway that they would redress.
03:23And then, yeah, the crawling, that was a set, obviously, between the walls was a set, but
03:28the lobby was in a building.
03:31An actual building.
03:32Yeah.
03:32Yeah, okay.
03:33Perfect.
03:33And what do you think is it about, because it will go, it will premiere at South by Southwest,
03:39of course, which is where you are right now.
03:42What is it about watching a horror movie or an action comedy, black comedy with an audience?
03:48I saw Boyhood First with an audience and I thought, this is a really good movie to see
03:53for the first time with an audience.
03:55And I've never seen it, seen something for the first time with an audience, because I'm
03:59always afraid I'm going to have like a meltdown.
04:01And I'm like, I need to do that privately.
04:03But I.
04:04That makes sense.
04:05Yeah.
04:05You know, but with this, I, my H&O managers on, they were like, wow, it's such a good
04:10movie.
04:10I mean, so I was like, I'm just going to watch it with the audience.
04:13Yeah.
04:13It's a good one, I think, to watch with an audience.
04:15I think, especially something like this, I think does shine with the screams, reactions.
04:22And also, it's like, it's a comedy.
04:23So this is a lot of, I think, hopefully people are going to laugh.
04:27And, you know, I think something like that is always enhanced by, by a group experience.
04:31And yeah, and I'm like, come on, let's keep the theaters in business.
04:36And, you know, I'm, I'm excited.
04:38I hope people see it in theaters.
04:40I think that'll be the best experience.
04:41Also with the screen, because like I said earlier, Kirill is extremely, he, he tried to
04:51make the film beautiful.
04:51Even in this sort of like gory horror genre, you know, the colors are, they pop.
04:58He, you know, there's like pinks and greens and blues, a lot of jewel tones.
05:02So I think on a big screen, it'll just sing even more.
05:06And I think people really want communal experiences right now and to share like an experience of, of
05:15seeing something, learning something, being in on something.
05:19And I think young people really need that.
05:21So we need to go back to the movie theater.
05:23And this is a fun kind of a movie to do that.
05:26Well, I saw it this morning all by myself, unfortunately.
05:30That's loud.
05:31That's good.
05:32To see it with an audience, you know.
05:34So, um, uh, there's also this theme of, uh, we see a rise in, in the theme of, uh, uh,
05:41rich
05:42people, if you will, like we have parasite, but we have infinity pool, triangle of sadness.
05:47I think this really, uh, goes, uh, goes on that theme.
05:51Why is that an interesting theme, you think?
05:54Well, we are seeing that, that sort of debauchery of the extreme wealthy class.
06:00You see it all over the Epstein files.
06:02Mm-hmm.
06:02Um, the lack of regard that other people are, become objects, objectified for whatever they
06:10need.
06:10Mm-hmm.
06:11And they seem to have a total moral, ethical, and emotional disconnect from the impact that
06:19their choices make on other people.
06:22And we're seeing that economically.
06:24We're seeing that in many, many ways.
06:25So, I think this is a heightened, comedic version, you know, supernatural kind of version of that.
06:33But I, I think it echoes through reality.
06:35I agree.
06:36I feel like also as the wealth disparity sort of is increasing, that gap between the, yeah,
06:45sort of like top 1% and everyone else, um, and people really feeling that difference.
06:50I think it is important to talk about, even in the context of a film like this, but to sort
06:56of just like continue that conversation.
06:58Um, and people are experiencing it right now.
07:01I think it's all over our politics and always has been, but I, I would say, especially right
07:05now, um, the discussion of wealth and who has it is relevant.
07:12Definitely.
07:12You know, and one conversation I would also like to keep going because we see a lot of
07:16stunts in this, uh, in this film, I think.
07:19And I want to know how much of it was yourself and how much of, much of it would you
07:23say was
07:24the amazing stunt people that I'm sure were there as well?
07:28Yeah, uh, uh, for me, I, I did most of it.
07:33There are some specialized things like air flips or, you know, um, big sort of tosses on
07:40a table or, you know, that I had, um, I had, uh, I had an amazing stunt double, Kiki, uh,
07:48who jumped in for me a lot.
07:49And she, you know, the whole team honestly was just really supportive, really patient,
07:54um, really great with teaching everything and adjusting on set.
08:01Cause there was a lot of adjusting that I feel like we had to do.
08:04And, uh, you know, a lot of the, also the extra fighters are, a lot of them are, they're
08:08all stunt people who are doing that with us.
08:10And, uh, you know, the big fight scene at the end, you and I have was, I did a lot
08:18because
08:18there was a whole contraption involved.
08:20We did a lot of that with a stunt double as well.
08:24Um, but, uh, I did, I did a lot of, I did as much as I could.
08:27I wanted to do as much as I could.
08:29Um, and yeah, but the stunt team, unbelievable, couldn't, truly couldn't have done it without
08:37this.
08:37You did do a lot also.
08:39I mean, it really was a combination thing and there were certain moments that they were
08:44like, no, we need to use the stunt person.
08:46But right off of the set was this big state staging area for stunts.
08:53And they had all kinds of like giant foam things and, you know, mattresses and they brought
09:00me in and would show me this whole choreography of this part or that part and which part I
09:06was doing.
09:06And Kirill made also a stop kind of, um, a animation.
09:13No, it was shot.
09:15So he cut it already together with the stunt people.
09:18Like you're doing this part, they're going to do this part, then you're doing this part,
09:22then I need this shot.
09:23So he really had already, uh, shot it in a way in his head.
09:29Kirill had the most intricate storyboards that I'd ever seen.
09:34And he also loved showing them to people.
09:36He'd be like, do you want to see them?
09:37Because he had, he'd, every frame of this film, he had already like drawn out, planned
09:42out, knew, uh, sort of the direction he wanted to take it and including the fights.
09:47He like really described them in the, in the script.
09:52And, uh, we, yeah, stuck to it a lot in, in what the choreography ended up being.
09:58Well, it was amazing.
10:00So thank you.
10:01And on for the Oscar for stunts.
10:04Wow.
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