00:00I saw the movie. Congratulations. It's so amazing. I mean, my head was everywhere all the time.
00:09When you first read the script, what was going through your mind?
00:15Yeah, my experience was very similar to what you described when watching it. I felt like my mind
00:22is everywhere. And I felt stimulated all the time. I felt unsettled. And I didn't know what's coming
00:30because I didn't know what to expect. I did not even know what to think about all those characters,
00:35really. I couldn't catch them morally. Morally, it was from the very beginning was bad wherever you
00:44went. But at the same time, I could see that they're trying to do something good. So you have
00:50people who are who captured a hooligan. So and they kept they did it on their own. So they're doing
00:59something they shouldn't do. But they want to do it for his for to, you know, to make him to
01:09better him
01:09and to better the family too. And so it's a crazy concept. And it's very simple. And it's a high
01:22concept. You I would never think about something so simple as Good Boy at its core at the same time.
01:31You know, in the in the original script, it was more about this, uh, power play between them.
01:41Um, it was less about their psychology, it was more about who's gonna escape, who's gonna who's
01:48going to dominate the scene and the narrative. So the way I worked with the film was to infuse it
01:57with
01:57psychology, and think about motivations. And that that made this film much more complicated. Because,
02:06because suddenly, it's not just a thought exercise, suddenly, it's almost like a drama film, thanks to
02:14what we did with with characters. So anything that made this uneasy to
02:23to, um, to judge, I think that was my way of working with the material.
02:30I love how you explain that, because you can almost feel that you are learning as well, like,
02:36should I like these people? Is it right what they're doing? But they are doing something good.
02:41You know, that's the whole, it feels like the us as the camera, and in that case, your camera,
02:47yeah, um, teaches us that that as well, like, yeah, all through all of those feelings.
02:54Yeah, it reminds me of when I was in high school, and, and we had a math test. And my
03:02math teacher,
03:03I was really focusing on passing the test, I was learning a lot. And then there was the test,
03:10and I got the worst grade from for it. And I said, like, it's unfair. Like, um, and the math
03:20teacher
03:20said, like, I can see you're really learning for it. And because you did the whole test.
03:26Um, and you were very meticulous about it. The problem is, you made a mistake in the very first
03:34equation. And all the other equations were based on this first equation. So all the others were okay.
03:42But they were based on the false equation from the very beginning. And I remember the pain of this,
03:48like, you can be wrong at the very beginning, and then we can be right 95% of time, and
03:55it doesn't
03:56matter. Because you were wrong at the very beginning. So this film is sort of like this,
04:00like, this film is wrong at the very beginning, and tries to be right at the, you know, the, you
04:07know,
04:07during the rest of the time. And that's why it's so hard to judge. So if we are mathematical about
04:15this film, we should reject it. But we are if you are humanistic, if this math test was maybe judged
04:24by
04:24the by the by the, I don't know, Polish language teacher, or whatever literature teacher, maybe I
04:31would get a better grade. So it really depends on your approach. If it's one, if it's black and white,
04:40then you will be struggling with with the film. If you and it's I'm not saying it's good or bad,
04:47some people need to be very strict with rules. I'm saying like certain cultures, certain people,
04:54uh, understand, or maybe they have more tolerance on, uh, when it comes to judging and gray areas,
05:04and tolerance for gray, grayness. Um, and some people might say, well, you are promoting relativity.
05:14And I would say, well, isn't it where art sits? Um, sort of like art doesn't know,
05:24like art is not, you know, a manual.
05:29No, no, no, definitely not. And I'm very happy that you say that, uh, when it comes to this movie,
05:35anthropology wise, I think it deserves an A plus. I think a lot more people, uh, maybe old white
05:41people should be abducted to this house. But, um, speaking of amazing, your amazing team. I mean,
05:50you had Anson Boone. I only knew him from Mottland so far. Uh, I really love his performance. He's
05:56amazing as Tommy, but also Steven Graham, Andrea Riceboro. I mean, when you saw these, uh, because
06:03the movie is so minimalistic, when you saw them bring it to life in front of your camera,
06:09what was going through your mind?
06:11I knew it was going to complicate the judgment only like whatever, like, because this, this concept,
06:19as I said, from the beginning, it was pretty simple. So with each and every element, I felt that if
06:27we,
06:28if we refine elements to the point in which they are very sophisticated and intricate,
06:36the harder it will be to judge this film. So having great actors play those characters,
06:45I knew I could go to a certain length to make them three dimensional, even more than that, like more
06:53tangible. And you could feel the pain of Chris when he, he, he decided to beat, uh, beat Tommy up.
07:04You know, we could feel that, you know, it wasn't on page. It was, it was them. You could feel
07:09the
07:09pain of Catherine that she has to sort of take over and she becomes sort of like a tyrant in
07:16this
07:16family and everybody listens to her only. And she doesn't take no for an answer. You could feel the
07:22pain of Tommy and you hated Tommy at the same time. He's a human being. So, you know, would you
07:28be
07:29compassionate about the, you know, a very bad person who's captured and, and can you sympathize
07:37with a monster, uh, sort of like, and who is the monster and why, why do we call monsters?
07:44Why do, why do we call other people monsters in general? And so, so yeah, so, so, so this cast
07:53was,
07:53was all about it and, and they gave so much to the film and so much feeling. And, you know,
08:01I love working with actors. My dad is an actor. So my dad always taught me to go look for
08:07actors that
08:08are hungry. Like whoever is hungry will, you will have a longer journey with the person. Sometimes,
08:16you don't need sometimes, sometimes you can have a great name in your film, a star, but the star might
08:23be not hungry. So you will have a shorter, you know, uh, journey with the person. And sometimes you,
08:31you're going to have an amazing journey with a hungry actor, hungry artist, whoever you're working
08:36with, collaborating with, you have to have a hungry team or you have to make them hungry. So that's another
08:43thing. So like, not physically, but, um, hungry, artistically hungry. So, so, um, so yeah, so,
08:52so that was, that was the team. They were hungry for, for a project like, like this, unorthodox,
09:00unconventional, weird, dangerous, to be honest, too, because you can easily, you could easily,
09:09um, sidestep into some, you could hurt yourself with this. And I'm not saying I didn't, I, I haven't
09:17hurt myself with this, but you know, I, at least I tried to make it very complicated. Um, so, so,
09:23yeah, so, so, and you know, it, it come, you know, when you think about all the people involved,
09:30Jezus Kolimalski, the legend, legendary, uh, director and producer, uh, of, of Good Boy, Jeremy
09:37Thomas, who got eight Oscars for Bernardo Bertolucci, The Last Emperor, right? Like, you had people like
09:44this deciding to, to, to be working on this quirky project. Um, you had Michał Dymek, who does the
09:54beautiful job as a cinematographer. He did The Girl with the Needle and Real Pain. So, you know,
10:01people like this all over the place, every, everywhere you went, you had artists. Um, so,
10:08so all of them combined, they created the, this, this force, uh, that took this weird script into a new
10:18dimension.
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