00:26This is Tim Wasper from Fast Track Unstruck TV.
00:29I'm here in Austin, Texas for the South by Southwest Film Festival.
00:33Can you talk about having to emote into that?
00:35Is it just sort of, we were talking about memory, you can use sense memory, you can just
00:40use instinct.
00:41Where do you go to sort of place yourself in that space?
00:45Yeah, it was quite difficult to begin with because as an actor you're trained to just
00:51ignore the camera and the line of connection is between you and the other actor.
00:57So to hear the energy coming from Ryan off screen, but then having to act towards the
01:07camera meant splitting the two lines of connection.
01:10So that was quite difficult, especially in scenes that were overly, that were more emotive,
01:17where you have to, where Grace has to experience vulnerability or anger and the emotions were
01:25heightened because as natural for human beings, you want to talk directly to the person that
01:31you're experiencing that emotional connection with.
01:34So that was difficult to split.
01:36But I think after just doing it a few times, you get the hang of it.
01:43And for me, it was about falling in love with the camera because the camera is Sean, who I
01:51have the literal relationship with now.
01:54So it was about really endowing the camera with the aspects of a human being and my fiance.
02:11Really, it's almost like a distant memory or a lingering memory or a remembering memory.
02:18Yeah.
02:19No, I get that.
02:21Yeah, it's hard to go between the different scenes with Lily because you don't know kind
02:26of what's real and what's not.
02:29What was real to her about you, for you?
02:31For me?
02:32What did you connect with?
02:33Her emotions and her trauma.
02:35So when she was putting on her front, it was like, you could tell, but then she kind of
02:39opened up a little bit.
02:40So she's still in there, you know?
02:42And then the environment we were talking about, obviously, because the thing is,
02:48must be something so alien because to her, the idea of family is probably one thing and
02:53how she remembers me.
02:54And I think it all depends on what's like happening in the scene and, you know, what's
03:00happened previously, like before.
03:02And I think wherever Sean's at, she's kind of like following with him in his emotions
03:09because, yeah, it's up to interpretation, like for her.
03:13So then like Sean, he's such an important thing in Lily's life and Lily's important in
03:19Sean's life.
03:19So I think it's hard to like get past that.
03:23I don't know.
03:23It's also interpretation because the thing is, is that you can look at this, it's a metaphor
03:28for something else, metaphor for identity.
03:30It can be so many things, but it has to work on the basis of the weather.
03:34Could you talk about that in terms of directing your actors within that space?
03:39Well, I mean, and to bounce off what Anna was saying, having the relationship with this
03:45camera, you've got to imagine there's a guy wearing a massive five kilo camera helmet.
03:53There's a guy behind him carrying the guts of the camera on his back.
03:57There's a boom op and then there's Ryan doing the voice of Sean.
04:02So she has to, like, interact and be vulnerable with that conglomerate.
04:14Ryan's about that much taller, like a foot taller than the camera.
04:18So he just, and so like his eye line's a big one.
04:22You can imagine how hard it is sometimes to not be like.
04:25Yeah.
04:26But I mean, block, as you said, challenges, blocking with that.
04:31Yeah.
04:31I mean, the confined 360 spaces sometimes and these quick camera moves, we had guys jump
04:38into the floor, like we, and that was the funnest part about the film.
04:44Just working and going, approaching a scene and going like, oh, actually, you know, we're
04:48going to do this, this and this.
04:50Intimate spaces.
04:51Intimate spaces.
04:52Like blocking out some of those was just so fun.
04:56Wow.
04:56And trying not to break the camera operator's neck.
05:08There's a line at the end of the film where it's like, it's a gift to see into another's
05:15world, you know, and it's referencing like how an animal can see in a different bioluminescence
05:24that it's prey cannot see, which I think is just such a wild concept of what we're, what
05:31we're missing, you know, you know, whether it's spiritually, you know, it's just, is there
05:37something else?
05:38And this, this is just about a gateway into that world.
05:44And I feel like dead eyes, it's being able to see beyond.
05:49Yeah.
05:49I think there's a lot of different perspectives in it.
05:53And there's only, you've got Sean's perspective.
05:55That's what the audience is seeing.
05:57So you're kind of seeing through his eyes, which is really cool.
06:01But then you're also seeing all these different characters and their storylines, which I think
06:05is really cool.
06:06So it's like kind of adding on to what Richard said, it's like seeing like all these different
06:10point of views almost and like getting to live a life from their perspective, I guess.
06:15Yeah.
06:16I mean, there's so many perspectives that are shown, but I think underlying it all is the
06:23notion of grief and how each person deals with grief.
06:32And if you can't move past it, and if you can't really deal with your trauma, it can lead
06:41to, it can be very destructive and it can lead to death.
06:46And I think that that's just, that's another lens that you see like the dead eyes through.
06:54There's so much about death in it and death and grief and just experiencing that that's
06:59above and beyond just the horror.
07:23There's so much about death in it and death.
07:25There's so much about death.
07:26There's so much about death.
07:27There's so much about death.
07:27There's so much about death.
07:28There's so much about death.
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