00:18and between the one thing and you know this is harking back that you are you're not my mother
00:22it the whole thing is that you sort of find these quiet moments these psychological moments of
00:28loneliness with the characters of not necessarily expectation but uh whether it be jealousy or
00:35whether it be you know expectation of themselves the perspective and perception thing that she goes
00:41through you know when she's looking back but even if you go to aubrey claudia's character you know
00:46how she that one scene is a really dynamic shift within two seconds you know when she sees something
00:55out the side of her eye yeah could you talk about finding sort of that those beats yeah yeah i
01:00think
01:00you know um yeah as i said the schedule was really tight so it was like for me it was
01:06like a lot of
01:06prep was definitely earmarking any of those moments to make sure that we we had those beats that you
01:13know you have those turning points or you have a moment where a character is you know their perspective
01:20is changing um and you know it was always just like trying to rehearse with the actors as much
01:27as possible before we get on to set and we were lucky that the apartment set was sort of semi
01:32fully
01:32built it didn't have its furniture in it yet but it was about when all the cast had arrived um
01:38so some
01:39of the stuff in the apartment like that scene that you're talking about with claudia was like
01:42we were able to block it out and kind of talk about it a lot because you know that's a
01:48scene where
01:49you move through a whole space and you've got three people that you need constantly to get their
01:53kind of coverage on and what make sure you're getting the right moments um so that was a tricky
01:59one but i think it's all about just like getting to do it with the actors in the space and
02:04kind of
02:05photo board it out as much as you can and then you know on the day then you at least
02:11know you have a
02:11plan you can do that will get the day done but then when you have that in your back pocket
02:17you can then
02:17take moments and be like okay i see here actually something once you get the camera in and everything's
02:22there it kind of kind of you can find things as well which like just whatever the actor is kind
02:26of
02:26giving you in that moment which you just trying to have to have to try and look out for even
02:30if you're
02:31like up against it i was also asking more about the thematics too because you know we're in this age
02:37of ai and the aspect of loneliness versus connection you know the idea of artificial versus real
02:44um could you talk about those overarching ideas of the film because you know it works as entertainment
02:51it works as you know action works as horror but there's that complete underlying theme of that that
02:57really brings it home yeah of course yeah i think that was like the main thing that really drew me
03:02to
03:02the project initially because you know i had seen megan and i loved megan i was there on a friday
03:09night
03:09when it was like full packed cinema and everyone was like whooping and hollering and it was really
03:13fun but what i loved about megan it kind of reminded me of like you know biting satire of like
03:20a verhoven
03:21movie and like you know how they kind of approach this idea that you're offloading your care of your
03:27kids onto like tech and um what that could look like and um so that's kind of what i loved
03:35most about
03:36megan and then when they wanted to do soulmate um atomic monster and blumhouse i i was like okay
03:42this is an opportunity to talk about something which feels like it's bubbling this idea that we're all
03:48you know um getting really disconnected from each other and you know there's a lot of people in the
03:56world who are creating things and not kind of taking into account what that could do to humanity
04:02it's kind of build it first and worry about it later and i was reading a lot about ai and
04:08um
04:09tech and how it's you know kind of this snowball rolling down a hill and it just really interested
04:17me to make something that could be yeah as you say like a really fun romp of a movie that
04:23was like
04:24you can enjoy wait to your friends on a friday night but that you know it's always important to me
04:29to
04:29try and discuss something that i'm worried about or i'm feeling or you know that i feel um you know
04:37gets me kind of emotional and fired up and that's something that's really important to me finding that
04:42collaboration we're talking about working with hods work with the heads of departments but you know
04:47also making it personal picking it personal enough to yourself but making it have those that scale and
04:53that comes from these stunts you know some of these things these are compared to the earlier film as you
04:57said step up so you have to but you want to keep your control can you talk about that uh
05:02reflecting
05:03your cinematic style yeah i think you know with visual style i think you know i think a lot of
05:09directors probably say this where like i don't i don't personally know my visual style if that makes
05:15sense you know you don't i feel like if unless you're kind of outside it it's hard i saw and
05:20the
05:21director of widow's bay he was saying that somebody was like you've such a distinctive visual style and he
05:24was like i don't think i do but i guess i do um but i think i think um what
05:31i always feel is just
05:32like the story and the kind of point of view of whatever character character's point of view you're
05:39in really leads the visual style for me in a massive way and then there's obviously all the
05:44wrapping of like you know the lenses you use and how much color you use and that was informed a
05:48lot of
05:49the time by erotic thrillers of the 80s and 90s and those kinds i love your verhoeven reference i
05:56totally see it that's great yeah so we wanted like a lot of punchy color and it to feel like
06:01those
06:02movies that they're quite lush and um so everyone's on board with that and then the we actually one big
06:08thing with the hods was this idea that because it was this idea that tech is kind of taking over
06:16a process that should be innately human so the human and the tech are kind of bumping off each
06:21other so we were talking a lot about like all the like locations in the film you've got these kind
06:27of
06:28locations that have tech in them but they're kind of old buildings and they have been there for a long
06:33time and then you so you kind of have the two mixing um and that was something we talked about
06:39a lot
06:39but yeah i think you know it was it was a it was a really fun one to kind of
06:44develop the style for
06:46with the hods because you know we could kind of just play a little bit and have fun and um
06:52it was
06:52very different from you're not my mother definitely in terms of visual style so it was nice to try and
06:57do something that was a lot brighter and campier in the daytime as you say yeah
07:02do something that was a little bit different from you say yeah yeah yeah yeah yeah yeah yeah yeah yeah
07:03yeah
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