00:25Vincent, can you talk about sort of the envisioning of the concept?
00:29Because there's so many homages. I mean, Flash Gordon, Doctor Who, you know, we keep going, you know, Contractor's Guide
00:36to the Galaxy.
00:37That's just what I saw. But and many more. Could you talk about that concept and then sort of coming
00:42to Simon and making it work?
00:45Because obviously with his FX background. Simon and I could both answer that question back to back.
00:50This was initially a concept that Simon had come up with and I was approached with some small scenes that
00:59Simon had began shooting in black and white.
01:02This was back in late 2018. And there were short scenes of 30 seconds a minute that he sent to
01:08me a couple of them.
01:09And I thought they were cool. And I he said, you want to play the captain?
01:14And I said, I think this is pretty cool. I'd like to play the captain.
01:17So we started shooting. And after a couple of days, Simon and I just really enjoy working together.
01:22We have a great artistic collaboration. And I said, Simon, I want to play both characters because I was made
01:27aware of the existence of a second character.
01:29And I said, I want to produce the film. As for the origins of the influences, Simon, go ahead.
01:34The difference, you're right on with the Flash Gordon, Star Wars, everything, everything, space of craft fantasy.
01:43But I would also have the Vincent Price movies, too.
01:48It was the captain was very Vincent Pricey, if I can say.
01:55Yeah, it's like the mustache was always there.
01:59Yeah, it happens. It wasn't the concept first, the one in the first concept, I imagine.
02:08And we just and at the first day of shoot, we had a Vincent Price photo in my in my
02:16basement.
02:17And I think Vincent Price came a little alive to Vincent, us, the Marais up to a point.
02:27So, yeah, I think I think I wanted to make a Vincent Price movie, too, kind of Vincent Price movie,
02:36too.
02:37I don't say that the character is Vincent Price, but it's a it's that kind of vibe, you know, melodramatic,
02:45very romantic,
02:47co-romantico psycho killer, like Edgar Allan Poe characters, that kind of thing.
02:53To blend that with space opera and their heroic stuff.
02:56It's a blend of everything, if I would say everything, everything, everything, whatever works.
03:05With with with with an amalgamation of retro genre and homage to, you know, 50s black and white science fiction
03:14cinema with state of the art VFX CGI.
03:18So that that, you know, juxtaposition and blend of both is is what really made this unique for us.
03:35I would like to do some tourism, visit your magnificent city.
03:40But also a mythic element, because you have the captain, but then you have the queen queen has to be
03:46exactly or go beyond what is, you know,
03:50Catherine, she's such a very, very unique character, you know, the way she sees the world, the way she acts
03:56on it.
03:57But you understand the balance between the comedy and the camp and the coolness of it.
04:01I'm generally impressed with the pitch.
04:05They, you know, also sent me some clips of some things they'd already worked on and just visually it was
04:10so stunning.
04:11And it was really helpful to see Vincent's character that I'm dealing with of the captain, because he is so
04:17melodramatic.
04:19He is so sort of wild in that way that I wanted to balance and match him.
04:24I wanted them to be like, oh, you could tell these two would definitely kiss or make little chicken noises
04:30at each other or whatever, you know what I mean?
04:32And so it was sort of matching his level of dramatics and also, you know, coming up with another unique
04:41accent for her,
04:42because Vincent does such great accents with his two characters.
04:45And yeah, it was really it just seemed I really like when a concept is so there and they've already
04:51made a little bit.
04:51But my my idea of perfect filmmaking is we go, we make the film, we watch it and then we
04:55go, OK, that's what we were making.
04:57Let's do it for real this time.
04:59And so to see already and already envision the world and already know how the characters are going to be,
05:06that was just so helpful for me.
05:07I really didn't have to do that much work.
05:09It just sort of felt natural that that would be who she was.
05:12Walk in your mysterious streets.
05:16Discover your your architecture.
05:19Blend in with the anonymous crowd.
05:31And there's also it's interesting, a practicality.
05:33I do like the fact that you guys blend like computer animation a little bit, but also those practical effects,
05:39because you flying over those, it really brings you back to those late 80s, early 90s in a great way.
05:47That feel was we had a we had such a good time acting out these scenes.
05:53The I think it, you know, it comes back to one of the cardinal rules of acting,
06:00which is you have to feel it from the inside and not look at yourself from the outside.
06:04So when you're playing it, you're just you're there, you're in the other world.
06:08But but obviously, you know, we had a good understanding of what was going on technically.
06:14And, you know, shooting on a green screen.
06:16Well, you have to have at least as much imagination as regular acting, if not maybe more, because there's nothing
06:21around you.
06:22So you just you have you have to see it.
06:24You have to you have to really believe that it's going on.
06:26So we just really believe that it was going on as we do as actors and then, well, you know,
06:34the technical constraints.
06:37We knew that Simon, you know, had a had a good command of what was going on.
06:43So we knew that we were in good hands there.
06:45And yeah, it was it was first and first and foremost, it was it was fun.
06:50We were we were having fun all throughout doing this.
06:52I know it sounds cliche, but it's really what happened with the Galactical.
06:57You know, it's a great day.
06:58And I know it was, oh, it's good.
07:14It's good.
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