M M. You're listening to Playback, a Variety I Heart Radio podcast. I'm your host, Variety Awards editor Chris Tapley. I'm talking to Lynn Ramsey this week, director of films like Rat Catcher, Morvin Caller, and we need to talk about Kevin her new film as You Were Never Really Here, which premiered at the can Film Festival almost a year ago, where she won an award for her lean and mean screenplay.
We talked about the craft that went into the project, from the page to the editing room, and a whole lot more. So, sit tight. This is playback. I was like to get back to eleven quot last night. They made to leave about four, you know, so it's crazy and you've been kind of working with this movie since last year. Yeah, yes, let's stick it talking about it.
Hopefully this will be better. Let me just make sure this uh directional mic, so if you're able to just talk into that as much as you can here with Lynn Ramsey today, the director of You Were Never Really Here, which everyone should see, and we'll start talking about in a moment. But I'd like to begin by mentioning that I have a son now. He's he's two years old and uh we need to talk about Kevin. Uh you know, I guess just bravo for terrifying me in perpetuity, who
was not really sorry about that? I mean the sign of well honed craft. I guess just left me. Yeah, terrified is the word? So well, finally enough since they get three, it all so um but at cause it was one of those privable fears, you know, like, um, I think there was some skinnings in London actually where it was like you could take your kids along, you know, and someone unfortunate mothers probably way into those cash, so you channeled some of that then. Yeah, I don't know.
It was just like I think something in that material was really you know, um hit moms you know partents, yeah, you know, like not just moms, you know, and about that fear where you know, whether you'll you know, love your son, you know, like we had. It was like in a taboo subject I guess, you know, um, not just that the mortal terror of having no idea how yeah, exactly, Yeah, but I think mine's gonna do Okay, well we'll see,
okay gives you what about that? Uh you know that film, this film you were never really here Morb in color, and you know, these were all taken from novels, and your last you know, fully original screenplay was rat Catcher. So I'm just curious if there is is uh, do you find the process of adaptation opens more doors for you as a director? Is there something? Is there like an ability to invade a space more so than living
with it fully? Yeah, well, I don't really know. I mean it's you know, things happening a change way, because I still I love it. Originally titled Too, you know, but rat Catcher was really kind a culmination all like all my shorts and what I was doing and then and you know, I was, you know, I was a kind of kids out of film school, you know, and so it was you know that the film was a really special film to me. But all the crew and everyone,
they were all first timers, you know. And since then the AID and the DP and stuff, you know, DP parts with Timmy Boil and then and it was like I think we're ready, you know, we're already green and it so it will always be a spatial thing. And I hadn't seen that film for twenty years unless so like last year a f I and it was a bunch of students, so she was kind of really a lovely experience, you know. Um, but yeah, in terms of adaptations,
it's just I thing Morvin Caller came along. It was I thought it was really ir reverend like the character. It was like, um, the writer kind of kills himself off in the book, you know. And then I met Samanthel Morton, so she, you know, who saw you were never really here a couple of weeks ago and described it as a She said, it's like the Francis Bacon paint, which is a brilliant you know. So you know, she
was just like amazing. But but I don't think I've ever really done a kind of released a literally adaptation. They've always been like kind of I suppose my cinematic taking it or you know, how to translate that into a film, and like, and they'd be quite different from the source material. And and that's been something maybe I've just slightly discussed up front with you know, whoever wrote the material and stead it was John Eames too, you know, and I haven't read his work, but I understand this
book was considerably different from some of his other work. Yeah, I mean he told me it was in response to a break up he had like you know, a big you know them he writes a lot of comedy, you know. Um it was quite short book, which I found really in chasing in a way because unlike Caven, which was a huge book, and it was in the former layers, um, which you know it was. It was very really it was a really difficult adaptation that um was. This was
you know, you could read it in ninety minutes. Probably the lamee of this of this movie, you know, um face short. And I love those movies like you know, The Postman, Alas, things Twice and things like that. We're based in short novellas. And like I grew up with Noir, so it was like kind of the my mom was just ding you know, Noir and Hitchcook and like differently, you know, they were quite you know, they were working
class people with there. I realized later they were real film buffs, you know, the studio system you know, and you know, you know those things like you know, I just I saw I remember seen Doling Night really young. Um. I remember seeing um Invitation of Life, you know, and things like you know, there's so there was these kind of studio movies that were amazing like that that was
doling names but um so much. But but yeah, like that, so something attracted me me about this face short, you know, like which I was able to me It meant I was able to kind of almost kind of take and you know, run with it and definitely wise and you know, kind of explode it in more detail, you know. Um, but yeah, I think it was quite definitely from what Johnathan names are written before. You know, yeah, you were
starting to get into it there. But you know, I'm a particular fan of your work because there's always been as economy at play. Uh and and you know, the visual storytelling is lean, but it's very potent. And I feel like this is the case across the board and certainly with this um for probably largely what you're mentioning the fact that it was such a kind of streamlined story on the page to begin with. But with that in mind, your inspirations you've mentioned a few there, but
just in general, Uh, you know, what's your favorite movie? Who? Who is your favorite filmmaker current or you know, not a contemporary. Um, well, there's all the usual suspects, I cause, yea filmmakers, you know, I mean Funnily enough, two weeks ago, I was on this program with a great kind of presenter called Mark Kermodes, and you know, he does this kind of like um, pretty cool program where you know, let people go in the cinema and it's a life you know show and people come on and they talk
about movies. And because it's the fiftiesh Anniversity of Two Days and One, you know, the sort of clap and the preface of Kimo whose curing Cubertics work, and then you just see like a clip of that, and well I hadn't seen it for a while, and I was just like, oh my god, you know, the cinema, like
if we went backwards. I mean, it was just like it's so in five minutes, sums up mankind and the opening scene you know, and so and one thing I didn't realize, and what the Perfectors professor has said was that the satellites when you know, you have the eight scene and the bone goes up like you know, um going around there, for it was actually a voiceover originally and they were bones, you know. Um, And so it just kind of like, I don't know, it was just
a bit on inspiring. You see such amazing work. Again. Um, but I was a big fan of Bergman, I guess, like and Nick Rogue and like and David Lynch and that I was fifteen at the time, so blue Velvet, you know, I think it was a Plin eighteen, you know. But somehow vigled my way into the cinema with a boy my boyfriend at the time. And oh yeah, I haven't seen a new one yet. But actually a studio Canal who released the movie, um, my movie in the
UK just recently. Um, their present to me was the new twin Peaks box set, so that was a pretty cool present. But just I've seen that movie and in Glasgow and you know, you know, it was probably I don't know, ladies well, early nineties or something like that. I don't remember exactly the year, but but it was and you know, lots of people walked out. No one
knew what this was. It was just um, you know, and I've seen a lot of films, but the landscape at the time was you know that we'd go and see studio movies or whatever, and it was just like it just totally blew my mind. I was like, why why are these films not you know, why have I never seen anything like this before. But he walked out of that movie and you were like, I felt I was instill in blue velvet, like for the rest in the night, you know, And that was like, oh my god.
That it was kind of like virtual reality in a way. Yeah. Right, And speaking earlier two thousand and one, I think actually this very day is the fiftieth Anniverse inter Uh you know this movie you were never really here. There's so many elements to dissect and discuss, and I want to
just talk about a few of them. The editing certainly, you know, I just talked about the lean nature of your storytelling, and uh, I love the bravery of just like getting out of a scene way quicker than you might expect, or coming into a scene way later than you might assume. You know, things like that. They that obviously builds the pace and provides a momentum, but it also kind of it creates this headspace. It creates this this psychological atmosphere I feel, And I just want to
talk about your philosophy on editing. Um, well, this one, boys, I guess it was in a pouch that that was like do we have to see everything? Do we? H? You know, what's left to the imagining Asian you know, like, um,
I think the audiences are quite sophisticated. And and also worked with amazing eador called Joe Bini that you know, you know, worked we hurt so before and he did my last movie where we were jumping around in time a lot, and so we learned a lot, you know, because that script was also very tight, you know, because that there was like, you know, it was really to the bone. He made that film so it was almost
like armchair edited on paper. It was like it goes from this to this and this and this and here's the sound that connects them all. And um, but I think you know one thing he said that I thought it was really kind a beautiful thing. He says, like, you know, it was like he felt that we ed edited it together. You know, Um, it was. It was quite a it was pulled about half the time. There didn't know this of my last movie, you know, in terms of because it when he can and was crazy
things happened. So after this crazy shoe, it was I thought it but you know, something dead and it's like, yeah, you've got a bit of headspace and whatever. What was it didn't really turn out like that. It was just like, um, suddenly a lot of crazy things hand can light and we didn't you know, they didn't have any credits. It was storyboards in it that you know. It was things
like that. But getting back to your question, it was, UM, I think for a really exercise and economy for us and a and also what do you need to know you know, um? And what spaces that give other people you think about it about it, and and where is this character's headspace right now? And we certainly saw like, um, the you know, I don't I don't really like traditional
flashbacks or anything like that. But there was as you know, post traumatic stress disorder cann element to it, which to me I so much more like shards and broken glass
in his head. And I felt that we should be really that one or two emergies that would tell enough you know, UM, but also give this idea to a repetitive kind of um like louicids kind of hallucination you know, um and you know, but also we tried to keep this really propulsive narrative and one thing you know, you know, or just a feeling of the energy that that I felt, you know, the book was a real page Turner. I don't think he'd you know, John self admittedly was still
finishing the book. It was only released in France. Um and you know, so it was a bit like me starting off this thing and go, you know, saying where is this going to go? And um, and it was it was more it was it was very organic compared
to other films. So yeah, I was lucky in that that the financiers were, you know, we're rolling with me, changing things like as I went, you know, because only twenty nine days to shoot as well, and so it was quite a short script stepped and um and how long did the editing I'd say, but we never had a schedule. It was the weirdest thing. I don't know if it's just the way they work in France or whatever, but it was like there was no production schedule. So
it was quite random in a way. And it was like, well, you know we've got you know, we be knew we I think you knew. We We felt like the material was really strong, Joe and I and then we we you know, we've done this thing. We've never show a digital before, you know, um, and you you send me more material. But I'm glad that I studied in the film because I think you're you're a bit more disciplined, you know, about what you're you get, you know, Yeah,
But I didn't. I didn't even that much time. He watched the Last Years and I was shooting, you know, like so it was about remember we I said, did you let's get a mixing desk and we'll pre mix it. And we did, and then we watched all the rushes and did selects like again after the shoot from stuff I'd liked on the shoot, but I watched everything again.
And then they persuaded him to get this mixing mixing desk, which was a big mistake because it kind of messed up his whole system and he lost all his work and so he listed these films that made and stuff like that. But we we were always thinking about the signs there later on as well, you know, like the Paul Davis, my sound designer, and started really early because
I thought it wasn't like a conventional ledit. It wasn't like just a picture cut and then you put a signd on later and then you put the music on later. It was like picture cut then go back to the sounds being the signed and we cut you know, with the sound of mine, you know, the picture and also the music because Johnny Johnny greenwo doesn't score to picture either, you know, like it's more like a feeling. And so he saw the film very chronologically. It was like here's
ten minutes, here's twenty. You know, we got to here. So we said we did it now. We that we edited in a way in the end where we were really happy, you know, to a piece like you know, like here's the first really cool half an hour, you know, like this is And we didn't show the whole ledit. You know, we'd be like we're up to here, which is unusual, you know, yeah, but like that, but like that I've written so far, and a little bit like
that in the ends. I mean, we hadn't we but we I think, I mean, Joe was certainly really like um, he was an ELI at the time. I've seen in New York, and he was very excited by the material. And then you know, there was a few things that happened along the way where it was like, you know, some things that I felt didn't work as much, and and and so it was being quite bold about you know, sing let's you know, reconfigure this a little bit and
talk to him a bit. And the whole surveillance thing camera thing was something we tested because I've never had reshoots ever in any film of works on, and I'm always really envious and directors to say, oh, yeah, I'm doing these reshoots. I'm like, so, I was quite risky thing to do that, And so I told you my thoughts. He came in New York and you know, we started thinking about how we were going to use a sign in the music and all those things really dead. It
was all coming from the psychology of the character. Where is he at this point? You know, when does they breakdown? You know, when you know you know where is this? You know? You know it was a bit of a beast, really, you know, Chitan this thing. But I think we were so disciplined, you know, um like, I don't think even this samply was that long. I think it was like a hundred minutes or something. Hundeon taine maybe. Yeah. People
aren't aware. Usually assemblies are like hours and hours long, and normally you're starting to talk about the sound there. I'd love to talk about that's another element. I mean, the sound is its whole other uh, just kind of doorway into the psychology of the character Johnny Greenwood during the score. You guys work together on Kevin as well. But what kind of sonic environment did you want to
build here? Is is this the kind of thing that uh you let Johnny kind of come with his feeler you do you present him with, like what's that dynamic like with you do? Well? First of all, I mean that's sporting him quite early augmented Ltney I've seen. It was the scripts, which was kind of the same place for everything but was still evolving. And then the whole thing went any production, which was really bonkers. That doesn't
happen every day. It's like, um, because Joachim was free and you know Amazon like strips it can and like just a lot of things happened, and I hadn't really finished it, you know, Like it was I was still working on it, and I thought it was going to be shooting in the fall, and then suddenly I was
shooting in the summer, and it was a bit crazy. Um. But like Johnny that I talked to him, like about the the nature that that I wanted to to have this thing that it drove that we were driving forward we talked about Carpenter a lot, but you know, but those are kind of like in the more broad strokes.
He loves pender Ecke. I love pender ech Here and always loved this Effects Twin track called Rhubarb that that you know, I've never it's so beautiful that it's almost too you can never find an image for it, you know. But I think he did his own thoughts as well, and we talked about strings and using like that, and it was becoming obviously it season two radio Head at the time, and I didn't I didn't even know if
you have timey do it. And he was like, he's quite a more dis guy, and he's like, I look, you know, like this is crazy. But when he saw them, I think when he he started to engage in what the car I think, And even though we did it quite remotely, which was weird because Kevin would add went a lot to the studio, you know, but what was really great about that was like he was kind of seeing the character evolved, and so the music was involved
in a bit like the character. So you know, it feels like you know what it's going to be at first, you know that, and there was just so many brilliant pieces of music. He scent like, um, but that Joe and I would be running up and down the room, like the corridor of the editing rooms, and I think feeling like we've got a president if we got his music, were like, oh my god, you know that And and
it was inspired by the characters. Music was very inspired by the character and the feeling New York and what Paul Davis was doing with the sign design, and also that I thought the smart thing he do was to get Johnny's engineer involved, who was there in the studio with us, so he knew the music really well and he edited was a music head in the film. But really it was like remembody watched LL four, which is the final really the film um and he was like,
oh my god, I love Real four. It's completely mad, it's completely crazy. It's bonkers like and and that that character started to implode in the music started to implode, and you know, and that giving them this kind of chronological version of the character was really I think informative. But you know, we we didn't really go like this
is going to be the way it is. It was like, I think things were just gravitating towards certain things, and he had ideas and like I think early on we you know, we booked some studio time, which I think they had to really like, there wasn't money for us score. And even though it's the more it's the most scored thing thing I've ever done, Like you know, um, it's the most scored film, and I knew would be a score. There was like we're literally to the wires and stuff
like that. There wasn't a lot of means to do things that I remember fighting really ugly on to get like a bunch of musicians together. I think the most was like it might have been about eight musicians altogether,
you know. Um. And we were looking at a tonal kind of signs um and and and Paul Davis was doing strange things and playing some things backwards, you know, and and that or you know, the signs in the movie even with the traffic and stuff that you that there's something wrong, but you don't know kind of what it is, you know, And it was like it's an
unsettling kind of thing. And then I did I tried one little you know, one thing that came up was and one of the sequences a surveillance sequences out, you know, I was like, well, do we go the room tone? Do we make it? You know, do we make it like you know, the feeling of the camera, do we
you know? And then we tried several things and like there do you slowly and none of none of it seto working in a I put this temp track on Angel Baby like, which was just like literally plucked from something that quite light, you know, and then nothing else would ever work, you know, and then I thought, why don't we you know, we we do where the camera jumps will take the time slice out of the music, you know, let us see if that I don't know, like,
let's just try it, you know. I talked to Paul about that, and and something really always happens when it feels like the track is playing. You know, you don't really notice that, but your brain does, so it kind of it's really disturbing, you know. So so there's a lot of work in those sounds right from day one, in conjunction, in conjunction with the music, you know, and
having you know, Johnny's guy Graham there as well. It was really cool because it was like, you know, this whole thing was all coming together as one thing rather than it being separate entities. Totally. I love it. I love the Johnny you know, he's kind of part of this, do you know ration, I guess if you'll call it that. Of composers, there's there's a number of them who are blurring the line between like traditional film music and sound design. Yeah, Le that was just about to see Mika as well,
and rest his soul was brilliant. So it's really cool whenever you pull that off. Did anything inspire you on just the look? You know, particularly the camera movement, which I thought was a notable quality this time around. Tom Townsend is your DP. This time you mentioned Alvin Cookler earlier you working them a couple of times, and Shamus Onsel. I've been lucky watching some amazing dps, almost Darious conc Well, Daddy is nice, speak all the same about you know,
he's he's amazing. In fact, he he was the one that said to jack him about me. I think you know he's you know, it was like Wackim was asking asking him about some filmmakers and and she's me. And that's how Jachima think haired about me. But Daddy's way you see the movie, I got a little month ago or some thinks his daughter loved it and so I sat up with scoming here. But yeah, we'll do something together,
I'm sure. Also worked with Natasha Bears, who showed the sport that for me called the swimmer like their swimmer um for the Olympics, which is a bit more like an art piece. But it's just like it's all inspiringly beautiful and she she's great. So she's coming along with the scimming, you know, like I thinking Friday night. So but I'd be lucky with the people I've worked with,
like you know, you know, world class tps. Oh you know, and you know, but we all started we all started to you know, the National Film School, a lot of you know, most of us, you know. Um, But yeah,
I think I've known Tom for twenty odd years. Like he shot like a lot of commercials, but he's he was a stealth photographer first and he's amazing, Like so you knows my visual wine, which really well and he did attack the block and like, you know, so it's quite different from this, you know, but he he we've known each other so well. It's almost like, you know, because of the nature that it had been twenty nine days.
It was like we'd meet up like very early, um, we did short less, but we would do short Less again every day, um and and be really boiling it down and boiling it don't I was like, how do do show? How do we do? How do one? I do?
Maybe this work and this time and be clever to make that time work because we didn't have like the four days for the action sequence that you might have, like we had half a day, you know what I mean, So you know, um that that was a challenge, but it was you know, it was there was a lot of light bulb moments within them. And you know, I've never I said, I've never shot an UM digital before.
I mean I've shot a bit of five D stuff and Kevin that like with stuff I was shooting in the way that's saying stuff that some of it was kind and I think we have a disaster one time with the light sulk and down and you know one of the scenes and that was the five days well but on Kevin, but it was you know, I've been lucky enough to shoot everything in film and you know this one was a weird one where it was just like kind of you know, I think it's just that
whenever films mentioned, people just think it's going to be super expensive, but you have to just do the homework yourself, and like you know, and just like everyone says it's going to be four hundred days, and it's just like it's a kind of phony number, you know. But I wasn't again shooting digital. It was like, you know, I was more like I was thinking about shooting like um
digital for a night and fell for a day. But then Tom and I did a lot of tests and so that you know, Luke became to the point where and I used to know us swept all for myself so that I was like, ah, this is you know, it looks great. And we actually did a very natural look. You know, it wasn't too messed around with me. So were that grade became a grade that actually stayed for
most of the thing. You know that so that when we said I kind of look um and we were never leating in New York, there was like the you know, the traditional Manhattan skyline, you know, like Tim Grinds, a production designer who's a reason and also this we found this amazing um location manager found all these kind of places that were pretty off the beating track, and so it presented a different side of New York. And I
remember be shot one day. We were coming back from something like I was in Yonkers or somewhere, and we shot one shot which was the most beautiful show. I thought it was like all the way through New York went through windows like you know, and it was like I had this kind of feeling that it could just be a film in its own in a way. And I used a lot of footage from that that show, you know. Um, but yeah, I think between Tim James, Tom and Slash Swinger he did the find the locations
and also whackings Luke. You know that that no one there was no selfie people there, no one recognized them. Um you know, like you look like construction worker or something.
You know that that there was a real Funnily enough, I saw the French connection when I came nearly afterwards who worked video Beanie, who was still in the Ellian just about to move to London, and and we were invited to the screening and we were like, we're just blown away with what they got away with, you know, like that car chase and and also the fact the film for the first hours, like just surveillance, like you even you know, it's a different pace and I hadn't
seen it since I was a kid, So what was exciting about seeing that? Was like, oh god, I think we've kept we captured a little bit New York in a way that's hard to capture now, you know, Like, so what do you think of the you know, speaking of New York. A lot of people bring up Taxi Driver with this movie is that it doesn't annoy you because it's an amazing I mean like it's had to be annoyed because you know, it's a classic movie. It's more like you feel like you know you're your destiny
for a fall like from that. You know, Um, I can honestly say, you know that we didn't like, you know, there wasn't that kind of referencing movie, Like it was so fast and we weren't thinking all books a bit like this or a bit like that. It was like really coming from how the locations fell and stuff like that. And Tom down ends like he knows every movie, so he will be the first time up with like, you know,
some reference to some other thing. To me, it was more if he were going down that route be more like point blank or China sign or something like that. So but I don't when I'm making a movie, I
don't really anything that much the other movies. I'm just like, you know, you know, whacking himself was becoming this kind of like he came he came along seping weeks early, like as soon as we started with Tom, the DP turns up the actor where I've got like ninety five locations to see, you know, And so it was it was it was pretty crazy, and it was I think that also been in that heat was mad, you know. But it was a very young crew. They were all like X Y M y U or Colombia and a
lot I found out later a lot for directors. And there was a really good energy on it, like what the hell is going this? And it felt very electric and like you know that and fun and like you're you know, like but always we were thinking about how he no just film was there like but go beyond things like you know, always like this this feel dumb or could be made this, So how do you how can we think about this in a way that's more interest and so and certainly Joakim was you know that
it's not and the book. He's not built like that, you know, it's not like you know, he's actually building up this armor. And I was really lighting the way he walked, and we talked about this and the scars were becoming a a thing and and I'm that his performance I think influenced as well how we shot it, you know, that that we would have this you know capacity too. I mean, I think the way I love digital in this film is to you know, he was
about like Samantha Morton and Morgan Calor. But it's hard to call cut, you know, you're like something you know he got. He got annoyed at me for not calling cut. But it was great because I was a ways to get this extra thing, you know, like and Toby and I said kind of geared up for that that he you know, when take was the same, not take was ever the same. And we were really fast. I mean we were like shooting like me twice sex say ups a day sometimes, you know, yeah, humming right along on
this one. Um, you know, speaking earlier of Jane Gagan, if you wouldn't mind just touching on it, uh, you know, it's been a number of years removed from that whole episode for those who are not aware it was basically a creative situation between you and the producers I guess became untenable and you left the movie. Uh what did you take away in the wake of all of that? What? It just just what did you learn from that episode? What what stays with you as a result of that
whole episode in your career? Um? I think mainly, you know, while laired, you know, that made some really cool people like Daddy's and Brian's Alfield and you know you have remains in cointact with and like it also just thought of creative ideas, you know, like you know, we're still there,
They're still in my head. So it's just like you know they went and you know, the feudia that just everything I've learned it feels like you know, um, you know man who many dedators of like be Martin and films for years and it didn't work out or something happened in the counting room, and like you know, you have these sort of stories and things like that, but you have to you have to turn and write a bout and go, right, what did I get it from?
You know, from you know, like whatever that situation was, It's like um, I learned everything I've done, I've learned so much, and so I felt I felt more experienced.
I felt that I thought about in sequences, you know, pray in an interesting way, and I'm sure some of that maybe you know, like, um, informed this, Please just make a Western I hope you'll eventually do one, because I was really excited that you were going to make one, and I knew the guy who wrote the script and everything I read that script, I thought, this is perfect for her because she can put her fingerprint right on this, and this is gonna be awesome. Sorry, I hope it
is a really taught, talented guy. And it was that scriptures in the Blacklist, and it was you know, it was it was pretty like I mean then remember the opening just been so like amazing and like and and and they opening in grades and and but you know, um, but I would like, you know, we'll see you know, like what's this space? You know? And then odd question
here I was. I was on my way at the door and I was sort of rubbed wrong by a headline I saw, which was something like Joaquin Phoenix could win an Oscar if he cheered up for the press and Meanwhile, you've spoken to this before. You've been called a difficult director, just this thing where people want you to do what you do but only the way they want you to do it, or something like when do you how do you respond to that kind of a thing.
I don't know. I mean I think people these days are looking for sund bites, like you know, like you know, they it's like an angle. You know, there's so much media and social media and quentin and stuff. I mean, even I get quoted and you know, I'm seeing something I'm not difficult or something like that. You know, I was an answer to a question la or you you know, you know, and so you kind of stay it out
for it. So and I don't know always like you know, just I think it's just like you just neach st up away the billsha, and just like you know, especially when you're making films. I mean, like, um, I don't think you think about all that stuff. And and I think you know, Walking is gonna about the work, you know, um. And he's been great with the press. He's been he's much press with this, and he's been lovely and he's
charming and he's funny. That's one of those things like maybe there was an episode in the past and this just kind of gets situated in people's minds that he is a problem with the press or something. I know for a fact that's rubbish, you know, because I've just seen you know, you just got back from New York,
and I think he's great. And I think what ease we have with him is like when the work aids and you know, when you like, for me, it's like when you finish the car, like or then you the mix and then you your work is done and you don't normally watch it a million times. I mean some films that I've made that I've never watched again since
being a film face or something. I think for him, it's like and you know, in the particular, and this one it was really sad because I think we both felt I've never felt so much enough film, like I didn't want to finish, you know, or end, or like can we take this crew and go make something else, like go make that some you know, crazy other thing,
you know, because we were so on fired. I felt that the whole team that it was a sad end and you know, and I know we all felt my cod like this is instead of that was something you feel like, oh my god, I just want to go hibernate for like a few months later, you know, you know you're so exhausted. Um, but you know he's now I need the the you know, we loved being in
set together, you know. I mean it wasn't like setting like waiting around and he doesn't like that side of things or just sort the pomp and circumstances and drivers and all that. You know, he just went, you know, he's just send it for the work. And I really respect that. I think that's been amazing. It's like, um, and I think he's really you know, I think at the end of the day, you know, I mean it's like one of the best, if not the best actors we have, and so cherish him a bit more tame thing.
You know. I just think he just doesn't suffer phils lively, you know, which I appreciate it. I tend to get along with those sorts. Well, everyone should see this movie. It's called You Were Never Really Here, and it's out now, so you can go check it out. Lynn Ramsey, thank you so much for coming on my show. Really, thanks very much for have you been? That was really that was great. Thank you n