00:26This is Tim Wasper from Fast Track on CERC TV.
00:29I'm here in Austin, Texas for Fantastic Fantasy.
00:32First, could you sort of talk on that and finding sort of balance in the writing, but then once
00:39you got set to make sure the way the relationship builds and then comes undone in certain ways
00:46sort of plays out the way you want it?
00:48Hmm.
00:51Well, I think it's a never-ending process to set up everything the way you want to.
01:00And I believe it happens at least three times throughout the filmmaking process.
01:05First, when you write, then when you shoot, and then obviously in editing.
01:10So you have a lot of time, but you have to be very cautious to still asking yourself questions
01:21if you are where you want to be and if you are revealing too much or if you keep things
01:29too understated.
01:33So, yeah, it's difficult to tell how to find this right balance because you never know,
01:43actually, if you are like on the safe page or not really.
01:48But building it in genre.
01:50Yeah.
01:50Obviously doing that, it allows you to talk about bigger thoughts.
01:54Yes, yes.
01:54While still putting it in that kind of content.
01:56That's true, but, you know, I'm very new to the genre thing because I'm not a horror movie
02:05person and I haven't seen many horror films in my life.
02:10So I approached it very intuitively.
02:14And for me, the relationship between the characters and the characters themselves were the most important
02:20and crucial, and I always try to follow them and stay close to them and their feelings
02:28and make sure that the viewers can follow.
02:33And so, yes, it was basically it.
02:36And the whole horror thing and the tension comes from the inner tension and struggles
02:44and the struggles between the characters and those clashes and everything.
02:49What is your most vulnerable desire?
03:02In what sense are you vulnerable?
03:07In the sense that you are stupid and that you have these thoughts.
03:12Yeah.
03:13In order for it to get to where it goes, you have to see both, what's the word for it?
03:19The frustration, the love, but also the sort of because of what's going on with grandma,
03:27that puts pressure and tension.
03:30So if you guys could talk about that approach both physically, emotionally, but also intellectually
03:35because they're thinking, you know, your character's thinking what she's going to do next, too.
03:42I think that it's pretty clear what Max feels to Emma.
03:46And the question that he's asking himself is at the house, at the countryside, is actually what's going on.
03:58Because the first thing is the feeling and, you know, the growing up thing.
04:05And the second is actually the grandmother's, you know, the metaphoric, like, form of growing up that wants to, like,
04:17stop him in this, you know, childhood.
04:20Yeah.
04:21So actually, you know, that's the question I think that he asks himself the most, what is going on and
04:28how to deal with it.
04:30What's going on or who I am?
04:33Yeah.
04:34Both.
04:35Yeah.
04:35Both.
04:36It's interesting from the actor's perspective, like, sometimes you have a character who doesn't actually know what is going on,
04:48you know?
04:48And I think Emma, she's the person who doesn't know what is going on.
04:52She knows, like, she feels sad.
04:54She feels like a failure because of this situation with the tennis school.
05:00And it was for me really fun to play her because I'm used to know what the character feels, what
05:11the character is the next step.
05:13And with Emma, it was a wild journey because she doesn't know what she wants.
05:18She's in the face, like, she's stuck in the Polish countryside with her brother.
05:24I don't know, maybe she doesn't even like with the grandmother and she's sick.
05:30She doesn't recognize them.
05:32So she felt stuck and she feels like she has also struggled with depression.
05:41So it was really fun to play, like, she's looking for entertainment.
05:44She's looking for relief.
05:46She's drinking a lot of alcohol.
05:48She's doing drugs.
05:49And she just wants to run away from her true feelings.
05:55And Max helps her to some kind of...
05:59Actually, Max, he's taking care of her.
06:06And he really sees her.
06:09And, yeah, that's what she was looking up to, maybe inside her.
06:26Max?
06:32No, but there's a context of, and I want to talk about this, of control.
06:37I mean, what is not necessarily power, but power dynamic?
06:41And we see that shift in many ways, you know?
06:45For me, the main subject of the film is this fear of entering the unknown.
06:54And that's what happens to you when you grow up.
06:57And it's basically about losing control and entering something you can't predict,
07:04you can't control.
07:06And it's absolutely terrifying.
07:08And that's what happens to Max.
07:10And that's what happens to Grandma as well.
07:13And Emma is an interesting character because she's somewhere in between.
07:17She's a bit older than Max.
07:19And she already experienced some disillusion about her career, about her future.
07:27She always dreamed of, etc.
07:29And she has this urge to, they all have this urge to remain in control, in a way, for Max
07:38to stick to whatever feels familiar when his whole world is falling apart in front of
07:43his eyes.
07:44And for Emma, because she's in this very nihilistic mood, she's using him for her entertainment,
07:55but she's also her way to gain this control.
07:58By having control over him, she feels more powerful, more, how you call it, like the person
08:08who has an impact on things, like the agency.
08:38She's an artist, she's an actor, who has aian.
08:39also has an object to what purpose to be treated as the 죄송alité.She
08:39seems to be a human boy, because he's also one of the threeier people.' He
