00:26This is Tim Wasprick from Fast Trek on CERC TV.
00:29I'm here in Austin, Texas for the South by Southwest Film Festival.
00:33Well, no, it comes back to that perspective and perception we're talking about, but that also has to reflect in
00:38the environment.
00:39Obviously, his environment out, his environment in, and obviously that keys into sort of the bagworm motif about what that
00:46might become or what beast is lying inside.
00:50Could you talk about that for you, Oliver, from an art perspective, from looking at the visual, not language, but
00:58how you build his space, how you build his apartment, that catacomb, if you will.
01:03Because that keys into what you feel and how he starts to both deconstruct and almost disintegrate in certain ways.
01:12Yeah, it's funny, like, when Henry and I first came up with the idea, it was definitely not as extreme
01:19as, like, what the final film is.
01:23And I think that I've never had an experience, like, even with a bunch of shorts that I did prior.
01:30It was always like, okay, this is what the idea is and the story.
01:34And, like, that's kind of, like, what it is.
01:36And this thing was this weird thing where it was, like, the idea was there was literally a burned-down
01:41house across the street from Henry.
01:43And I saw it one day and I said, from where Henry lives, and I said, we're just going to
01:48make a movie and shoot it inside that house.
01:50Like, that's it.
01:51That's what, I don't know what it's about.
01:53That's the thing.
01:54And we took that and it really was this, like, snowball effect of, like, stretching the boundaries of, okay, but,
02:02like, what does that mean?
02:03And then also, like, what else can we do with that?
02:07And then it created ideas of, like, perception, like you're talking about and, you know, what is real and what
02:15is fake and how do we see ourselves?
02:17And it was a really weird, like, exercise or experiment, I guess, where from the very beginning of when we
02:28came up with the idea, the inception of the idea, all the way to the end of it, we never
02:33said that's enough or, like, no more or it's all figured out.
02:41It was, like, constantly just, like, growing and growing and growing, even to the very end.
02:46Like, Henry talked to me yesterday and he was like, oh, I just realized there are these two characters in
02:53it, these two dates that he goes on, and they represent the inverse of each other.
02:59And, I mean, he wrote the script and he was there every day filming it and editing it.
03:05And I think that, like, it was really fun to see that you don't have to have everything figured out.
03:13You can kind of, like, when you're kind of, when you're working in territory like this, you can kind of
03:20just, like, let it reveal itself for you.
03:22Sure, not everything's going to work, and you have to kind of be on top of, you know, saying yes
03:27or no to certain things, but ultimately, it's, like, fair game.
03:32Just whatever feels fun and kind of, like, it has an idea inside of it, I think you have to
03:38explore it a little bit.
03:40What does Rod sell?
03:44Double-sided screwdriver and pink wrench.
03:48Well, I have an idea.
03:50Why don't you send the morbid some of these, and you can decide which two to whistle.
03:57And, Peter, as far as, like, it's interesting, Carol, his idea of expectation, the expectation to, you know, be the
04:04boyfriend, be the party guy, be the father, be these things.
04:07There's all these expectations of society, and yet there's the internal versus the external.
04:12And, you know, that's sort of that Kafka-esque, that metamorphosis.
04:16Could you talk about sort of that, sort of deconstruct?
04:20Because even his mind, his mind's becoming sort of jumbled as he's, you know, in the car, for example, with
04:26the girl.
04:27I won't give to it, but the way he says his exact plans is very, very primal.
04:33Could you talk about sort of expounding that, but also deconstructing yourself?
04:38And then I'll let you guys go.
04:40I know they're wrapping me up, so.
04:41I think what I love about Carol and what I identify with is that he's really obsessed with, you know,
04:49controlling his life and having a good outcome with his life.
04:51And because of that attempt to, you know, control and grip onto, it all disintegrates and falls apart in his
04:59hands.
04:59And, you know, I think there's a lot of humor in that, you know, just taking things very seriously and
05:05wanting to be good and moral, but also, you know, pushing his environmental, you know, awareness espousing and just it
05:14all just kind of crumbling around him, I think is like, you know, relatable and fun.
05:19And, you know, again, like, the script was different, the order was different, scenes were different, you know, that was
05:26what was so great about this process.
05:28And what's so great about Oliver as a director is he has the two, you know, most important traits for
05:38a great director, which is fearless leadership, having the last word, and then also like, oh, you guys think that's
05:44a funnier idea?
05:44Great. You know, and also, meanwhile, we're about to roll and then he's like sweeping the rug in the back
05:50to make it, you know, look like worn and because he's an artist.
05:55You know, he built that set with Angus, his other brother, who's the art director.
05:59And so, yeah, it's I think a lot of it is like, we don't even know what we're doing.
06:07And it turns out to be something else, just like the just like the, you know, the Francesca Galassi and
06:14Michelle Ortiz, who play the two very talented scene stealers who play the dates like we found, you know, thematic
06:21resonance in both of those scenes that were not our intention initially.
06:25And I think that's what's so great about this process, you know.
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