OK, they'll start rolling about. That are you? Are you burnt on talking about your film? No, I mean, you know, but I feel like it's been a whole. It's been a whole year. Yeah, right. It's been a whole year. Come out. Come on. Sundance. It was Sundance was world premiere last year. Oh, yeah. So I went back one. Year ago or two years ago? One year ago.
Really. Yeah. Oh. My God, I remember seeing Past Lives at the Angelica when it was there and it was, it was like the first time I'd been in a theatre with an audience and I just, yeah, I loved it. And the whole other room was packed and people were so into it. And it just made me excited about movies, what kind of movies that I love. But it was so personal, and it's always been something's like touching it but not embarrassing, like, you know, that is done.
Yeah. Just with restraint and taste. And. Yeah. So I loved it. But what? I'm just curious. I know you were a playwright before, and this is your first film. Did you make short films before? Is this the first time you ever did something with the camera? It's the first time, well, I think that I was in theatre for 10 years and I remember
transitioning into film. And then, I mean, I I was thinking about this before, which is that like, I mean, when we first met, we met at the Chanel event. Oh, yeah, Yeah. And I was just like, I remember sitting there and like looking over at you and being like, Oh my God. Sophia couple last year and then of course you came up and then you told me that you saw it at the Angelica and to me I'm like, that's just feels so special because of course the New York film.
Yeah. And to be, yeah, to be in New York and go in my neighborhood and oh. Yeah, like walk over to the movie theatre. Like that was one of my favorite parts of moving to New York, that you can just walk over to your neighbor movie theatre and be like, I hope the movie I want to see is there. Yeah, so we're excited that your movie was at the Angelica. Did you? Yeah, of. Course, I feel like that was such a, that was such a wild
thing. And I feel like being in theatre, so much of your life is about like, because theatre is local. Yeah. Right in such a deep way, yeah. Have you? Have you wanted to work in theatre? Have you felt? Oh, like a lot. In is a. Director. A writer, yeah. You know, I've only. I did once. I directed an opera in Rome at the Rome Opera House. I did La traviata. Oh, my God. And it was really the scariest
thing I've ever done. And, and I was really, I just rely so much on my cinematographer that like not having the camera to tell the story was really interesting. But then it, it realized it wasn't that different. You're just, you're still telling a story with actors and of course, and just using lighting and staging. And but it was so exciting because I remember that she has to walk down this big staircase. I thought like, what if she
falls like that? That live thing is so yeah, it was such an exciting, different experience, but. But I, I love that about film where I'm just like, you're never going to miss the lighting queue, right? You're never going to miss the sound queue because that's like a natural part of live performance. So it's like your stage manager is always having to do that accurately every night. Like they're there every night. Like hitting the Yeah. I never thought about that.
So for you, you can really get it exactly how you imagine and not worry about something. Every night it will be every time anybody plays it. A movie. Anytime you play it, it's going to be the same. But in theatre, it might be a little sooner, a little bit later than you might want it. Right, but each performance feel different too of. Course, well, the audience is different, yeah. And right. And actors are are they're people, right? Yeah, that's so in fact, they are people.
Yeah, they. Are yeah, I find it really mysterious because I, yeah, I don't it's not that familiar to me and but I thought it was exciting. But it's yeah, it's totally foreign. Well. The the because the actors respond to the animal that is the audience, right? So you're seeing like the actors change their performance. Oh, interesting. And we get to see that, I feel like in film, in front of the camera, right? But the audience doesn't, of course.
Like if they see, I'm sure that's what was happening to you because that's what's happening to me where like if I look happy, the actors like I'm their audience, right? So the actor will. Play for you play. For yeah, right. And then if I look worried, they're like, yeah. That's interesting that you probably have a that's so smart that as you're directing that you know that you're the audience because you've had that experience in the theater. But yeah, that's totally.
I didn't think of it as that you're being their audience live, but that makes sense. They they totally are looking for your reaction and well. You're the chief audience. The director is a chief audience. But of course, the whole crew, yeah, you know, you're are cinematographers. Like they're also the audience too. Also, the director sets the tone and yeah, I don't know, I feel like there was a, there's a bit of performance that I felt like. I had to do.
Yeah, That's interesting. No, I do feel like that. Everyone's looking to you. I think of it as like motherhood because it's the same kind of role where they're looking at you. Is it OK? And it's the same thing I feel like with kids or something. So I feel like yeah. And definitely setting the tone. I think that makes a huge difference. I know people so like, oh, you're sets are common.
I realize I don't spend time on other people's sets that much, but I, I definitely have a rule about no yelling or like I never want to AD that's a screamer and it's so unnecessary. So I do think that that yeah, the atmosphere is important and I and I could tell, I bet from your movie that it was because I of your demeanor that it was calm.
I'm sure I. Feel like I don't, I think, I think yelling everything, but I feel like more importantly, it's like it just can't ever turn personal because we're all there to do work. And I think to me, I'm like that when you talk about motherhood. I felt that way so.
Much care. Of your people because I'm not a mother and it really I think directing a movie made me realize that I could do it like I could be a mom like there was a real revelation for me because before I made past lives I was like can I be a mom like is that something that I can do and then once I made it I'm just like I can do it I. Can do anything after that if it's. But you're taking care of people and everyone's looking to you
the same time. When people falls down, they look at you and they have to be like, yeah, you're fine. Yeah, so. It's a similar thing. Yeah. You were so right. You're just like, and I think you're just holding down the. Yeah, right. You're just holding it down. And even when you're scared. Yeah, you have to. You can't. They can't do it. Yeah. Yeah. So you're you're. Like your partner now Yeah cuz right, cuz sometimes like I feel like and sometimes the partners
different. Usually I feel like. My producer is usually the, they're the, they're the partners that I can go to them and say like, I'm I'm scared. Right, yeah, no, I I love having, I have a producer that I work with all the time and I feel like I could follow up.
I don't have to be strong with with him, but I remember like I was having a hard time right before I was about to start shooting on Purcell and we had to like cut a bunch of the, the script down like the week before and my kids were calling from I was in Toronto, my kids were in New York. They needed me and I was just like, and I looked at my DP and he's really sensitive and he's and he and I and I and he, I looked like I was about to fall apart.
I was like, I'm going to, I need to be strong. And he's like, you don't have to be strong all the time. Like it was so sweet. But but having those those relationships with your crew that you really trust and that you can have doubts and be vulnerable, I felt like is so totally well, I feel. Like you can always ask for help from them. Yeah, you. Know yeah, there was a moment where I was like, everything had gone very badly for that day and we didn't know if we're going to
get what we needed because. And for all the technical reasons, basically we were trying to catch this one sunset and we had a whole plan about catching the sunset. And that day, because it was cloudy, there was no sun, and we scouted that location like 10 times. For that sun. For that sunset, and we had prepped it for the sunset and there was no sun to set. And what did? You do did.
You well, it was funny because there's a part of it because we had invested so much into that sunset that we were all like, I don't know, you don't want to give up on it right So in a funny way, I think that me and my DP and our whole crew, we were like acting like a miracle was going to happen, right, right. But of course miracle didn't happen. And then there was a moment where I had to be like, well, the miracle is not coming.
So we're going to have to go and ask our actors to bail us out. And that's what happened. So I asked my actors, Teo and Greta, who had who are waiting to, you know, go And I went to them and I was like, and it's kind of like they're just being like, well, so mommy needs help, you know, I'm like, hey, like there's no sunset. There's no sunset. We have time for maybe 3 takes so you're gonna have to bail us out. Yeah, they're gonna have to make the magical moment. They're gonna have.
To make the sunset. We shot it without the sunset, but it's the scene in front of the carousel where it's just like a 1, you know, and it's just one position for the camera. And then we just do the whole scene there and we just roll that roll on that three times. Until you lose the light. And until you lose the light and then but of course, like, but I was in the edit, I was like, oh, you don't. Even. You never the concept was gonna be too much oh oh, see it always. Works out the.
I thought it always works out the way it's supposed to. I don't know. I feel like that must be a Sometimes I'm like, well, there's a movie God, and sometimes the movie God is blessing you. You know, but I think it always, I feel like an experience. It always works out the way it's supposed to. Like sometimes if the actor ends up falling out, you can't get them. You have to get someone else. And then you're always like, oh, I'm so glad it was them. Like they're so much better than that.
So I feel like, I feel like there is. Well, the right person is the right person always. Yeah, you know. And things like that, like it would have been too much like I felt like it. Yeah. Well, you just have to make what you can with what you have. But I think usually it works out the way. It's not meant exactly. I mean, is it delusion? I don't. I don't think sometimes it's objectively better. Yeah, yeah. Yeah. Yeah, I think it's. Yeah, yeah.
I think that's the excitement of it because you lose the location or the weather or something and it you have to figure it out and then you you come up with something that you might not have thought it right. But I mean, I feel like you, what I always think about with your films is the, of course, casting is everything, but I feel like the way that your voice is also seen through casting. I always think about that. I loved, I loved your cast.
Yeah, I loved your cast and I feel like your cast is like you can tell what your I feel like a director's voice is actually seemed very much through casting. And I feel like I was always so curious about the way that you cast. Like what was your process of, you know, thinking? About Jacob, yeah, I love your cast. I think it is. I guess it's a reflection of your kind of your taste or like what how you see a woman and what qualities and I guess, yeah, I never thought about that.
The personality of the person does come close. So yeah, I think it's just, I usually just think it's I meet people in the people that you connect with, you think that they have the same sense of humor or they seem smart or like it's like a taste thing of like how they would and then you trust them of like how they would approach things.
I feel like when I first worked with Kirsten Dunst, I felt like it was my first film and just having that like being on the same wavelength helped me so much because she she got what I was talking about without having me having to explain so much. And then, and then as we work together over the years, like I, that's something that I, that I love having that rapport. But don't you think it's just you?
You're drawn to certain people and yeah, talking to them, they kind of get what you're talking about because they're, they have to convey what you have in your. Mind. Totally. And it's like if they get it,
they get it right yeah. And I do think it's about a tasting too, because sometimes I can't explain why, yeah, that's the right person, even though if you were to break it down objectively, like maybe like the person that I don't think is right and the person that I do think are right is right is maybe most people can't tell the difference.
Yeah, but I know. Yeah, I feel like whoever you're just excited about, that's how when I can't tell I'm just like, who would I be excited to see in that part or that's a big part when I'm writing that motivates me. Like the part I love is like getting the actors there and seeing them play it out. Do you, do you imagine sometimes actors when you were writing that or? I have real trouble doing that. Well, this story seems so
personal. Yeah. Where you just kind of putting yourself into it was how autobiographical. Was it? I feel like I would say it was like a inspired by autobiographical moment because it's like the opening scene of sitting between the the child sweetheart come to visit and your husband. Oh. I love, I love the opening. Yeah, and that was happening. What's going on? Did that happen to you that.
Happened to me and I was sitting there with my child sweetheart who's now a friend and had come to visit me from Korea. And we weren't, it wasn't like that kind of a thing, but we did speak a separate language then. The one I have with my husband, who I live with in New York City. And he doesn't speak English. Yeah, he doesn't speak English and my husband tries but doesn't really speak Korean.
And I think that really translating between these two people and realizing both of them know a part of me that the other person right doesn't know. And also they, but they're trying what a beautiful thing that they're trying to know what the other person knows. Right. And the different sides of yourself. Different sides of myself, but also like I felt like, well, I'm only whole. I'm only, I can only be known wholly if both of them are here, right?
I can only be known by them collectively if they both are trying to communicate what they know about me. Right. Or you're the only one. I'm the only one also. So. So I have to be loved in this way. And that's the only way I could be loved in full. Right. And how good they were to each other, you know, and how much they wanted to be decent to each other. That was such a moving thing. Yeah. And I think that moment was the inspiration for the whole thing. That's so interesting.
Yeah. So I feel like when it comes to autobiographical things, some of it is about like, well, what does the character want? And sometimes it's like, well, this part of autobiography is really interesting for the character. And some of it I'm just like, it's not that interesting, but right, Right. Right. So I think it's just kind of like a puzzle. So for that, yeah.
But yeah, I mean, I feel like that's one, but I'll feel like in general, in my life, I don't think I've ever been able to write for a specific actor because. Because you're thinking a moment, yeah. Because you're trying to create characters that sort of exist for the film alone, right? Right. And I wish that I was a little bit more like, well, blah, blah, if I get blah, blah, blah for this role, it'd be perfect. But it's usually and also I want to see, I want to see new sides
of actors too. Yeah, definitely. You know what I mean? Because. I think that's exciting. When you see someone you're like, you know that they could do something that they that you haven't they haven't shown before. I love that. Yeah, that's exciting. Because it's like, I want to always be able to say that to the actor that I'm working with every day to be like, we're going to do something new today, right? Because it's a little bit, I don't know.
I think it's like. Otherwise I think they they feel like like tools or or objects for the thing. Yeah, you want it to be exciting and a challenge. Yeah. You want it to be feel like it's a relationship we're having. Yeah, right. Yeah, yeah. And that you're finding it together. Exactly, Yeah. Did you with that? It's so I mean, it makes sense that it that that story came from that moment. Did you ever explore that in a play before you decided to make it as a film? No, no.
Were you were you thinking? I want to you were thinking about a film and and that story could fit as a film instead of a play. Well, I think that I actually felt like the the film was the only way that this particular story could work, right, Right, right. Because it spans decades and continents. So it kind of is like you kind of need to feel the location and the right, because it's like what my joke is usually that it's like the villain of the villain of the story is 24 years
in Pacific Ocean, right? Yeah, yeah. Like that's the reason why they're not together. It's not because of anything else. It's because of the way that I live sort of work. Out, yeah. Yeah, of course. And I assume that when you're working on Priscilla, part of it is that you fell in love with the book. Yeah, yeah, I was just in her book. I thought there was, I was surprised with that.
There were parts that were relatable and just like the human aspect, but that, you know, any girl gone to these different moments and then like to hear that what she went through and it was just surprising and just that the complexity of their relationship and and, and I think I don't know, I guess they're related to that. We all go through. Or when you're younger, you can be in relationships where you think it's your whole life.
And then of course, it just becomes, you know, a moment in your life that shapes you and, and, and just how much you'll learn and put up with in a relationship and what you. Yeah, I just kind of what you went through. I thought it was relatable to that experience of being being young and crushes and of. Course, but also like they're wanting to be in a relationship with like Justin Bieber. Yeah, yeah, right. Because that's who Elvis was. Yeah. Because Elvis was just like the
biggest possible star. It's like 1. It's like I want to. It's like the how teenage girls want to be in a relationship with like Timothy Chalamet. Yeah, exactly. And and like, yeah, of course they're gonna. And they could, you know, there's a lot of fan fiction about that. You know, yeah. Oh yeah. Or about. Like Harry Styles. Like Harry Styles. There's a really famous one, I think. Yeah, but I don't totally get it because I think it's like they he like locks you up.
Oh, really? Which I think is like I I was thinking about it. Yeah, I never understood like those like 50 Shades of Grey 9 to probably 9 1/2 weeks the the no, I haven't read. I haven't read 50 Shades of Grey either. No, I haven't either. No, I mean, I think I tried to. They sent it to me when they were making it. They were like, no way. I mean, I think it's just that thing where it's like it's, it's funny the the desire to be dominated by that, that person
that you adore. Yeah, I don't get that as as as an adult, but I I can see it as a as a teenager that it's like so there's so much mystery and I. Mean, I wonder if it's also a part of like being such a because something that really struck me about your movie. Priscilla is such a good girl. Oh yeah, but she but she has a rebellious. But that's what I mean. But I think that, well, I was AI was a pretty good girl when I
was little. And I think that part of it is like when you're a good girl, but you want all these, but you're so like you're burning. Yeah, for something, right. And a part of it is you just have a bad desires, right. Yeah, Yeah. Because every up at school, like I'm like, I do my homework, I show up. I'm so like. I'm not that rebellious, yeah. Or you like this as well? Like, yeah, yeah. So but then I feel like because of that. Yeah, you want to have another side?
You want to have another side and what an amazing thing that your other side is. For Priscilla, it's it's been a relationship, secret relationship with Elvis. Yeah, yeah, yeah. To me, it's like the ultimate of all the yeah kind of desires of of that age. Yeah, that you don't want to, that you don't want to be like, you've been in so much trouble, you know what I mean? Yeah. Yeah. What a special feeling. But then you're in so much
trouble. But you're so in love and you're still most powerful pop person ever. It's so crazy, but I think it's like, yeah, super romantic and yeah, yeah. Yeah, but it's not what it seems. Too, Yeah, yeah, no, I love that that it looks like this like fairy tale and then the the darkness of it. I'm so I'm excited that about the you starting in this as a film. How did you put your team together?
Because I feel like it takes a while to find your team and this being your first film, did you know any of the crew before or how did you find them? I show them my script and then they wanted to do it. Yeah, that's great. I mean, I usually call it like AI call it like my seduction technique, like the animal Kingdom that you have that you. Have like your superpower. I just to show them the script and of course, like the script is meant as like a kind of a
pitch document, right? Because it's meant to be like this is the kind of movie it's going to be. So it's like if they wanted to come and do it. And by the way, it's not like most of the people first person that we were sent to, they would read it and they want to do it. But I think sometimes, like sometimes you don't get it and then that's OK. You know, it's like, and then I'm like, oh, that's such a lovely way to know. If they're the. Right.
They're the right person because, right, Because I'm like, well, the movie that I want to make isn't changing. So if they don't really think that, it's cool. Then that's yeah, that's so that's so wise of you. I, I remember when I was trying to lost in translation and I met a few different producers and my script was very slim and, and like it was very, very minimal. And I remember some producer being like, oh, we'll work on the story more and like just
didn't get it at all. And then I met another producer. They were like, Oh yeah, this is cool, we can do it. And then so I end up working with them. So it's true. Maybe your project just finds who who clicks with it. Yeah, I agree. I think it is like dating where, Yeah, right. We're just like, well, for somebody, you're exactly what they're looking for. Yeah, Yeah, right. Yeah, that's true. And you don't wanna be with anybody who is not doesn't that you're not that for you.
Yeah, exactly right. I think so much of it is a sensibility. Exactly. And I love the guy who plays your husband is Had you worked with him in the theatre? No, I I met all of them in like audition or a meeting. Did you know Greta from? No, I didn't know her. Yeah, I didn't know her from I had, I hadn't watched the show, but she's more of a comedy. Person yeah, yeah. She, I think most of her work was in like comedy, a lot of it was in TV and then so she
auditioned, she sent in a tape. Oh wow. You know, and Tayo, who plays headhong, he played, sent in a tape. Did you know right away when you saw them? Yeah, yeah, you just do. Yeah, you just meet them and then you're like, I think it's. You. Yeah, yeah. Yeah, right. And then you just try to see if you're right. So that's what the audition was like my callback audition, which I did like for like 3 hours each. Like I talked to Greta for 2 1/2
hours. I talked to Tayo for like 3 1/2 hours and it's because it's but it's just to confirm that you guys. Can spend this time together. Yeah. And also I like need to know like that my instinct is right. Yeah, right. Because you, you meet them and you're like, I think you're right. Yeah. But then you have to be like OK. Check it out a little. Exactly. Second date, second date. You just have to keep pushing on the date and being like, are we right about this together? Yeah, about this.
Well, we're not quite right about that, but we know that we have this other common, you know, so I think it's like getting to know them, yeah. When you're in the in the theatre, did you direct plays to? No, I just. But the writer is more of the prominent. Yeah, yeah. Voice in theatre, right? So you're always working with the director about like how you want the tone or whatever?
Yeah. So it wasn't that different from what you had done in it, No. I I learned it's not, it's not that much different than all actually. Yeah, Yeah. But yeah, I mean, I feel like, I mean, when you met Kaylee and Jacob, like, did you also feel like, I think this is the right person or does it take you a longer courtship? No, no, I just met Kaylee. I met Demich once, and then I was like, and then I looked at other people's tapes and stuff, but I always came back to them.
But I learned from when I was casting somewhere. Elle Fanning, I met her when she was 11. And Fred Roos, who helps me, that we've met her and we loved her, but he's always like, we have to be thorough. We have to meet everyone. But she's the one to beat, so I always remember that. So she's our favorite.
And then we met all these girls and everyone else, like, no, she's they're not L they're not L So I think when you meet someone you just know, but then there's that kind of thoroughness of making sure you meet everyone. But I feel like it's like, yeah, you just get excited. You see them as that, and we're excited about seeing them in that part. Oh. Yeah, it's a. Oh, I want to ask you about writing because I find that the hardest part.
Do you? Do you when you get do you ever get stuck or like, do you have rituals around writing or I think people procrastinate a lot. Like they're all writers procrastinate, I think. So are you disciplined about writing? No. Well, I think that the discipline I think comes in a different shape, right? Because I feel like in my discipline, do I like write 5 hours a day? No do. You have a like that office that you go to or do you ride to the? Kitchen. Kitchen table.
Oh yeah. I've done that. But now, now that kids, I have to get out. Yeah, but yeah. Well, I feel like I would say it's the. I would say it's the hardest part anyway. And your husband's a writer. Yeah, he's a writer, so I feel like, but a part of it is like you're just, I don't know, you just feel like a little piece of broccoli, you know, on the kitchen counter for most of the process of writing. Like you're just so useless for
so long. Yeah. Do you know I'm not thinking of having like an inkling of idea, but you don't know the rest of it. And then do you feel like you just force yourself to? Well, I think that you I feel like I can't start unless I know how it's going to go and how it ends. Oh, really? Yeah, yeah, yeah. But that's part of the that's where the procrastination comes in. It's just walking around and thinking about it and. Yeah. And then like just like writing like 3 lines of dialogue and
then calling the day like you. Have to force yourself and you don't feel like it. Just do something. Well, I think I feel like I usually find it to be if there's an assignment, there's an adaptation, there's an assignment, those I can do. Yeah, me too. But when you when you have to write your own personal thing. I think it's a little bit more like you just sit and then you just like, you just like kind of like, I don't know. I I wish that I knew how to describe it in a way that sounds
more like it's awesome. Yeah. Go. But it's just you're just sit there and you're just like, well, I clearly don't know how to do this. Yeah. Never been able to do it. Yeah. Was I ever good? Right. Was I ever able to do it? Yeah. How do you finish the last script? I can't remember. Yeah. Yeah. Right. And then you just are like a little piece of broccoli just sitting in the side of the kitchen, just a catching kitchen counter drying out. And then.
And then eventually you're like, oh, wait, maybe. That's can add. Yeah, yeah. I thought sometimes I just like make stuff up because I need something and then it ends up being part of the story, even though I feel like it's just some dumb thing that happened to me. So I put it in because I need some pages. Well, I think about that when it comes to like, well, you're talking about the just a dumb thing that you just kind of worked on.
The part of it where it's like, I think it is kind of like that. I think we have to allow ourselves to be right, like allow ourselves to be that and stupid. Yeah, because I guess your subconscious is part of it at some point. Do you, did you ever hear about there's like it was really popular in the 90's, The Artist's Way, this book that we used to do like Morning Pages. Yeah, My friend was looking at it again and someone told me to
get it for my daughter. And then I was like, oh, should we, should we do this like with the Morning Pages? I haven't done it, but I I wondered if. It's like a prompt or something. I think it's just the idea that every morning you write a couple pages without thinking about it and it's supposed to like, get your creativity flowing. But I don't know, I mean. I feel like I wonder if that's for morning people. Yeah, yeah, it's for another. One are you morning. Person No, I used to write at
night. I stayed up all night writing, but now I with kids, you I can't do that. So but there's something that there's less pressure at night. I feel like it's you're not really part of the real working world. You're this is like a, it makes it more like a hobby or like A and something's like a freedom in that. I agree. I mean, I so do. What's your working hour? How are your working hours? Actually I. Don't know, but I used to just stay up all all night writing
and then yeah. So enjoy that while you can. But with, with having kids, then I had to figure out like just getting out of going to the office and and then sitting there or I, I find it a lot when I leave. Like if I go away for a couple days on my own, then I can kind of just get lost. And it's hard to kind of switch with being responsible. And yeah, if like when you're in the mode of a story, you kind of need to be lost in it. So I think. I think so, and then sometimes I
have. To figure it out. Conveniently. Yeah, yeah. And you're like, Oh my God, I'm about to walk into something and I'm already like, I want to go and work on that thing. Yeah, yeah. When you get obsessed with it, then it's exciting. If there's a lot of like, not knowing what you're doing and then you get, then you get really into something. Totally. Do you? Are you working? Are you writing now? Do you know what you're going
to? Do yeah, I mean I am trying to write but I think it's that's the issue like. When I'm when you're still talking about this, probably. Yeah. But the beginning of it, I think that I think it's like a lot of procrastination, a lot of like feeling like a broccoli. And then I feel like it gets to a place where I feel like then I become like a kind of a demon for that thing. And then I just need like I usually, it usually takes me like 4 weeks to write a script, right? Well, that's fast.
It's really fast. But that's because I don't do anything else for those two four weeks, right? Like I cancel all my plans. I don't leave, right. And I just like, I eat and when I eat, that's when I do emails. And I mean like, it's like. So you just get obsessed, Yeah. It just becomes like demonic. So you. Just kind of walk around and think about something until it it gels enough that you can go into that mode.
Yeah, I mean, honestly, it's more like I just need to get this done by the end of the month. Like sometimes it's just like not even like Eureka. Sometimes it's like I have a bunch of eurekas. But more importantly, I want to get it done this month. I'm no longer interested in, right? I just want to get it out. Did you have like a few ideas that you were thinking about before or do you feel, do you feel pressure after this movie that everyone's excited to see
your next movie? I feel like I didn't. The pressure is, I feel like how you see it, because I feel like the first movie was tremendous amount of pressure too, right, In a way. Yeah, I guess so, yeah. Yeah. But I just thought because people are so love this movie and they're waiting for the next one. Do you feel? I don't know. Do you feel more prefer you? I shouldn't put. I don't wanna say that.
No, not at all. You. Don't know what you mean, but I think it's like to me, I'm like, in a way, no, because it has to be good anytime. Like, I don't think you walk into, you're not gonna walk into your next movie being like, well, it's not my second one, so I'm chill. Yeah, yeah, yeah. Like it's always, it's always you're. Always as good as the thing that you just made.
Right. It should be always, you always want to make something that you don't want to put energy into, something that you don't feel is the best version of it. Yeah. Exactly. So I don't. So in a way, like I don't think it's any more of a pressure just because in a way I feel like it's less because at least people know that you know what I did. Yeah, you know how to do it. At least you know to yourself for yourself, too.
Exactly. Yeah, I just remember after my first home, Virgin Suicides, like doing these young director things, and there was another director who had made it her first film. And I was like, I don't, I don't know what I'm going to do next. I don't know what I'm doing. And like, do you? And she was like, oh, yeah, I know it all, what I'm doing. I was like, OK, like, I don't
know. I feel like I have to wander after each thing and just sort of feel like the other one has to sink in before I know where I'm going next. Right. I mean, but, but then your second movie is lost in translation. You know what I mean? Yeah, isn't it? Yes, this is. Yeah, yeah. But I was so like did not know what.
But I always had little inklings of wanting to do something from my experiences there so. I mean, I've always I feel like my answer my like my kind of answer when someone asked me about the stress around the second film. I'm always just like, there's so many film makers who whose second films are amazing and I hope to be one of them. Yeah, and I think about you, you know what I mean? Because yeah, yeah, cuz I'm I'm like, what are you talking
about? Sofia's nobody like the whatever the second film slump or. Whatever. Yeah, I'm just like. You know who didn't have one yourself or more Islam? You know who didn't have one? Sofia Coppola. So thank. You. I'm glad I could be it. But I remember like that moment of like, now, now I'm doing this. I fought so hard to make my first movie and then it was like, Oh no, I can do this now What? Yeah, but well, I'm glad. Well, I'm excited to me to see your next one.
I. Can't wait to show you the next one. I can't wait to make it, you know? Yeah. I do think that's yeah, no, it's fun when you have your team and do you want to keep working? Well, we shouldn't stay with the same people because. But yeah, now you know, I find that exciting when you have, I love it people that you have your team. Yeah, I feel like it's like, yeah, I think that I want my department head, so you know
what I mean? Like, it's like you just meet them and then you have an amazing experience working with them, and then you do it again. Yeah, I just want to do it again. Yeah. Do you get itch? Do you feel the itch to go back? Yeah, it's funny cuz at the end I'm like, I'm never wanna do this again. And my husband's like you say that every time. I'm never doing this again.
So now I'm like thinking like I wanna try to not rush into something else to kinda catch up on life when you because you put it all aside. But then I get excited about like certain actors. I'm like, oh, I would love to do something with them. Like Kirsten, I always want to find something we can do together. But she's so amazing. Yeah, yeah. So, so that part like motivates me and like I'm like my great AD that I love in Toronto that I was telling you, like, Oh my, I
have such. I had such a great team on Priscilla that I and I loved working in Toronto. So I feel like, oh, there's this whole set up. I never, I never used a built sets on stages before. So that like inspired me now that like you could do anything. And yeah, so it's always exciting. And I feel like it sounds not glamorous, but then when I every time I walked into the cuz we had built sets for past lives. Really. Yeah, the dorm room. Yeah, it looks so natural. So yeah, yeah, it's.
Amazing teams, you know the dorm room and the Hessong's room where they do Skype together cuz we needed to figure out how to do a live Skype acting. So you're doing at the same. Time. So we're doing at the same time. So smart. So don't you also for the the state, the tax thing that you have to do like certain percentage on stage? Yeah, yeah. Did you shoot in New York? Shoot. Shot in New York. Yeah. Shot in New York for 25 days, and then we shot in Korea for 10 days. Wow.
Yeah, yeah, yeah. And, and in Korea, the set is even cheaper and faster, you know, so we had, so we had some set there. We had a filter set there and built the set in New York. And I remember being like, man, shooting on set. What even is that? And then you go in and you're just like, you can move walls. I know, put camera wherever you want. And then I kind of, yeah. And you can control everything. Yeah, I know. It's such a different.
I always thought like, oh, it has to be in a real place to feel real. Yeah. But then once you do that, it's like, yeah, you could do anything. How do you Do you go to Korea often or have you not been back for a? Long time. I hadn't big. I've been back since like 2015. Yeah, yeah, I went back. I went back to visit my family there, but then I hadn't been. And then, but also this is the first time I went to Korea to
work. So it's the first time I like met people in Phil, met people who like work and do things and that's so cool. I don't know. It was really cool. You never been. No. No, you've never been. No. I really want to go. You have to go. Yeah. I want to go to Seoul. Am I proud? Yeah, I think you should go to Seoul and I think you should go to Busan if you want to go to Jeju too. Like I feel like this little island, it's kind of where you
go for honeymoon. It's like Hawaii of and it's really you just have to, I think it, I think you'll, I feel really like happy and inspired. There. Cool. That's great. Yeah. OK. Yeah, your list before it. I go. Yeah, exactly. Yeah, I don't know. I mean I feel like everyone always asks me like which part of the process you like the best to edit? What's your favorite? What's your favorite?
It's hard to say cuz they all I think writing the least except for like when you hit print and you finish a draft then that's the best. But I think writing is kind of lonely. Yeah, but I love editing. I love editing because you have all your stuff and playing together, but it's fun to be on set up too. But I think editing, you don't have the the pressure of the time pressure. You can just play around. Well, yeah, I mean the my my line producer asked me the
question. Fuck Mary Kill pre production, production post production Yeah. And my. No, no. So it's like a you. You tell them which you would fuck and which you would. Marry and which you would kill. OK, OK. But the I thought it was up. To date, no, no, the options are prep production and post production. And for me, I would fuck production because it's like so exciting, right? And then you have a limited time, but there's so much that can happen.
It's unpredictable. It's a lot of energy from like the hundreds of people. You don't know what you're going to get really ups and downs. And then it's just like, it's all like everybody's like passionate and like we're trying to figure it out. We're going to do the. First day. Post production, I would marry. It's day in and day out. It's like partnership, you know, and you feel connected to it. And then every day it gets better, right? And hopefully.
And then sometimes some days it doesn't and then you're grumpy but and you're annoyed, but also you do it again and it's. Amazing. Yeah, right. And then you build on something, you build a life. Yeah. And pre production I would kill. Yeah. Mostly because it makes me feel like stressful. I stressful also. Like, I think it was especially hard because my first film because I'm being asked to make these massive binary decisions.
And you've never seen it before. And I'm like, oh wow, that's going to cost about how much, $200,000, Yeah. And I have to make a decision to spend that $200,000 right now. Before you've seen anything. Yeah, you're seeing. Anything. I don't have even a centimetre of film. Yeah, right. But I'm saying like, yeah, let's do it. It's beautiful. It's gonna be beautiful. Yeah, it's gonna be amazing. That's. True. I always feel like in prep, I'm like let's just get started already.
Like it feels like it takes forever, like it's just a million scheduled meetings. I'm like, let's just do it. Well, we. Need it though I really think prep is so. It's like doing homework or like, yeah, let's just get to it. But the visual part is fun. Like I love the art department and the costumes, but the scheduling? Not so fun. Scheduling not so fun, but also like, I don't know, I think sometimes I can imagine take get my, you know, Virgo or organizer.
Oh, yeah, like how you're going to do it. That is fun when you figure out like, we'll do this there. And yeah, I'm. Like, well, what if we put this over here? Yeah. You know, like, that can feel kind of fun, but. But I don't like the part of, like, not knowing what the movie's gonna be, but everybody's looking at you to believe in it because. Yeah, Yeah, right. Because, you know, like being a director is like you're, you're the center of the. Captain of the ship. Captain. Of the ship.
So you need to be like, we know where the, we know where we're going. But I do feel like sometimes will be like. I'm not sure I need a second to think about it, which I think is good to know that you can do that. You don't always have to pretend like I remember my dad saying that like even he it's like, wait, I'm not sure I need to think about it. And I was like, well, if he can say that you don't have to always pretend like everyone's looking at you.
You don't have to pretend like you know what you're doing all the time. Like of course, or like us, you know, like you can think it. You can take a second to think about it and figure it out. Well, I feel there's such power in saying like, well, I don't know yet. Yeah, yeah, it's true. It takes more, takes more strength. I actually need some help figuring it out. Yeah, it's so powerful. Actually, it's true, yeah. Because people want to help, people want to be part of it, you know?
I think that helps, not being like a macho guy. I bet you're OK to be like, I don't know, I need help, but yeah. Oh yeah. I mean, that was such a such a magical thing. Just wanna just wanna help you. Just wanna help this you. Know a lot of people around helping you. Confused. You know, help me. Yeah, sorry. Everyone helping you. It's great. I know. No, I was thinking, I want to ask you sometime. We're not filming that. I have an idea for a play, but I
don't, I don't. I just have a concept. I have a setting, but I don't know. I haven't. Would have no idea. Yeah, the rest of it. So the audience is like the screen and it's a family and all the dynamics between the family. Yeah, this movie is a short one act play, but yeah, I don't know how to. I love that. Well, actually, you already know. You already know how it is. It's just more like. Who? The characters.
Are yeah, like. The and I think I love when the dynamics are it's like under the surface and you're saying one thing but meaning another thing, which I guess you just have to feel your way through that's. Well, I feel like it's about like probably about what's away from the room. Oh, right, What's happening in? Before and after, yeah.
I mean, just like it's in another room, because I feel like like that's very Chekhovian to me what you're describing cuz right, Cuz I mean like death and shootings happen outside of the. Right. What I would say A-frame, which is the stage, yeah, right. Like outside of it is where all that all that. So think about what's happening outside of yeah. And then you can you can conceal and reveal so. People can come in and. Easily. Yeah, that's.
Really helpful. I think I never thought about it. I there's one like a just like yeah, dynamics with like certain pairs have issues with certain ones, but yeah, that that real drama is happening outside of. The well, yeah, I mean, some of the drama can happen there. And then there's such power and somebody walking into the stage, which is of course the frame, if you got to think about that as a frame and you can only put a camera in one place. Right, that's what what's happening.
That's the whole frame, Yeah. So same logic and and just an actor entering into that space is so much more powerful than. Because you're like, yeah, Oh yeah. It's. So amazing. Everybody's just like and The thing is it's like, you know, the close up or the focus is happening through blocking. Yeah, right. Just. The person stepping, no one's moving.
And one person stepping forward, yeah, that's equivalent of a close up. Oh yeah, and when I was when I was doing the stage, I was like, what do you do without a close up? Because I know a different. Thing Oh. That's so interesting. Or they can be like, you can step into the light. There's so many ways that you can do the close up, they can do the blocking, and that's cool, Yeah. I don't want to think about that. Did you see that play Stereophonic?
No, it was. I saw it at Playwrights Horizon. Cool. But did you see it this season? Yeah. But it's it just. It just closed, but there. It's coming to Broadway in March. You should go see that. Yeah. I loved it. My husband's a musician. And it all takes place in a recording studio. Yeah. That's cool. Okay, I'm gonna. Go use what's happening in the room and then behind the glass. And it's based on Fleetwood Mac making rumors. But the way the sound is, I thought it was really cool.
I love that these are singing. Yeah, yeah. And their voices are incredible. And it sounds really corny because it's, it's like fake version of 70s Fleetwood Mac style music. So it sounds like it'd be awful, but the music's really good. I'm sure it is. Yeah. Yeah, it was really. I thought it was. Really. OK, I'm gonna see it. I don't see that much to do, but I'd love how they use the space and. Yeah, it's really. Cool. Well, I feel like just. I think that's the thing about
blocking, Like blocking. Blocking has to do all the storytelling. Yeah. And dialogue. Yeah, and this, the fact that they had the glass partition, so you can't hear, you can turn the sound off and on in the different places. It was cool, but that's so helpful. I think it's true. And I think it's also like the usually the difference that I think about is like the time and space is so literal in film. Yeah. So if you want to have an old lady, then you'd cast an old
lady, right? But in theater, you don't have to do any of that. Like a kid can show up and say, like, well, I'm 92, right? And the whole audience is going to leave it, right. Or like, you know, it can be like, you know, if you want to make a movie outside on Mars, you have to build Mars, right? Or go to Mars. But in theater, all you have to do is like, have a rock. I can sit on a couch like this, right. Exactly. Not even a rock. Like just turn the light a little red. Yeah. Right.
And then just be like, so I got to Mars. Yeah, Right. And then the whole audience will come with you to the to Mars. That's. So. Cool. So that's the strength of it, I think, yeah. Yeah, I'm curious because it's so mysterious and unfamiliar to me, but but it's. I think you love it. This is true. Thank you. OK, I'm gonna try to. I think it's really helpful what you said about the stage. Yeah. OK, I'm gonna. These are some questions, I guess, from people. OK.
People wrote in the first one is, is heartbreak necessary for a great love story? I think so, yeah. I would say I feel like. I mean, all the great ones have heartbreak. Yeah, because I feel like at the end of the day, love stories about, like the stories that are, I don't know, it's about the biggest drama of our lives. Yeah, and you need some obstacle or hindrance or else it would be boring. And all love stories have some
something to overcome. I think so, because otherwise then you're like, well, what is it worthy of telling the? Story and heartbreak is just romantic and it touches you in the deepest way, I think, so I feel like it's essential. Well, heart is, you know, it's meant to be broken. That's how you grow. Too. Yeah, and all the love stories that I love are always have a tragic side. Did you ever read Spring Snow by Mishima? Yes, of course, yeah. Yeah, yeah, yeah, I love it. OK.
Yeah, You want it. What's a genre you'd like to pursue more? I always thought it'd be fun to do science fiction or something that I would not know how to do. Your science fiction is so bad. OK, cool. What about you? I wanna do, I want to western. That'd be cool. Yeah, yeah, I think it'd be really good to get women in it. I feel like Western I I can't watch ones that are all guys cuz I get them all mixed. Up. Yeah, yeah, yeah.
But I feel like it's like, but I think the position of it, like I feel like the the much of it and in the way that it gets averted is always really amazing. And also like, I like stories about like, just like bravery. Yeah, and it'd be cool. Yeah. Like American West. It's such a, of course, tradition. Well, it's like it's a like to see your Western. It's also about like fame Western. I feel like Westerns are. Not same. Yeah, notoriety, right? Yeah, I.
Think it's really interesting. No, that's cool. I would love to see your western. OK. Want to see your sci-fi SO? Where is your favorite spot to write? It really is wherever I can. Like it truly is like wherever I can. I don't have a favorite spot. I think I like it. I like the plane. Oh, yeah, Because that's pretty good. Yeah, I do too. That's a good answer. What about you? No, I agree about the plane.
And also I think the lack of oxygen makes you feel like what you're writing is more exciting than it probably is. Just like watching movies on the plane or like. Yeah, Yeah, I think that's a good. All right, if you had to watch one movie scene every day for the rest of your life, what would it be? Oh, that's really hard 1 Scene 1. Scene I don't. Know do you have one?
I'm thinking. I know I have a favorite scene that I revisit a lot, which is in Barry Lyndon, there's a scene where Marissa Berenson has like a fur hood on and he's smoking a cigar and she's blowing the smoke all over her and she's really annoyed and he has no perception of her all like it says so much in this one scene. So it's a scene that I revisit a lot. And I looked at for when I was shooting a scene with Elvis and Priscilla in the limousine and
they're like disconnected. But it's, it's so, so much and there's they don't say anything and it's just, yes, that's one of my favorite scenes. You have a scene that you revisit from time to time. That you like, You know, I think that there must be a scene in like, like a Miyazaki film. Oh, do you know what I mean? Like, I bet the that amazing scene and house Moving Castle where it's like just as beautiful feel beyond the door. Yeah, we were just like sitting
there and just live there. I'm like, well, that feels like heaven to me. Yeah. So if I had to live, I have to. Live with the scene over and over. Yeah, over and over. And I'll just sit there and I'll just be like, it's like at a spa, you know? It's amazing. Did you watch the document? There's one documentary I saw of him. Yeah, that was. So good. He's so dour. Yeah. He's like, I'm sick of this. And I'm like, me too. Yeah. And your movies are like a dream.
Yeah, I'm. Bad. It was good. OK, this one says how do you call action on your set if you do so like I. Usually ask ask my AAD to do it. Yeah, that's. You that's so funny because there was always like a thing where like you have to say it yourself. But I, yeah, I don't mind when we're at a big loud thing for my AD to say it. He's a small, quiet area. I usually give the AD the go go ahead cuz he's the one who's checking if everything's speeding and everything.
Yeah, so he knows when to when to start. Yeah, and don't say it the wrong, I've done it the wrong time. Just like. Exciting too. Yeah. I'm like, we're not ready and I'm saying it. And I'm just like, well, he knows when we're ready. Yeah. So he should just say when he can. Yeah. Yeah, dude, you don't. You don't mind, I think. My dad always said like you know you have to say actions, they know that you're the boss and like say it loud and stuff.
So I'm in the habit of saying it, but I but I I'm happy for the AD 2 if we're outside and it's loud. Totally. Well, I feel like I know. You know? They know I'm the boss. Yeah. You know what I mean? I'm like, yeah, I don't need to tell them, you know? They know. Yeah, you know. Yeah, I guess I do out of habit, but. Totally. Just for you specifically. OK. Would you ever consider directing a horror movie? Oh, yeah, I would.
But. But yeah, I don't, I haven't thought about it. But when we were when I was a kid, we would make like little video movies and we made horror movies because it was just fun to like get blood, blood out. And like we lived in an old Victorian house. So it felt very conducive to horror movies. But I mean, I don't really like gore, but. I mean, I, I wrote a horror script, but I would get so spooked by my own because you have to be so scary. But it has to be scary to me, right?
So I don't know if it's scary to anybody else, but it's really scary to me. What's the premise? Can you say? Are you going to tell me after? So it's a top. Secret. It's just, no, it's not a top secret. I probably will never make it because I'll be too scared. To make I want to see it. I don't like super. Scary. I don't like what's. The setting. It's like it's truly like it's
not even wild. It's a good it's a totally conventional like snowy cabin thing, but like this cabin is like fucked up, you know, and that's it and it's. Scary. Something can happen. It's just so scary. It's like being like, it's like going there and then like this person acting like they know you. And then you realize that like, yeah, I guess you're my cousin. And you just kind of buy it. And then eventually you oh, and then you're stuck with them.
And then you just realize, I don't think this is my cousin. To me, that's the scariest thing. I used to be scared of the body snatchers. I remember like telling my brother when I was little, like, let's have a code word so if you're snatched, like, I'll know it's really you. But that body snatcher is really scary. It's really scary, like Doppler, like, yeah, yeah, like really the. It's like the person. Closest to you taking over?
Yeah. Like, like there's a really scary, like a like when my child in one of the scariest stories that I heard in Korea, which is like, it's like, like your mom starts laughing and then your mom goes like, do I look like your mom? Oh. Yeah, that's so. Scary like, and I was too young and I was like, this is the scariest thing. Yeah, that is anyway. But that is what movie makes you cry. Every time there was a time where I don't know about, I don't know why, but big fish.
What you saw that it's. A Tim Burton film. Oh yeah, no, I never saw that with. That you, McGregor. Yeah. For some reason the ending of that I think that would just kill me. I never saw that movie, but I know what Yeah, I. Think you just. I think you see. But it's about, I don't know. I think that it's like, I don't know. I feel like weirdly, children could never make me cry, but old people could. Yeah, older people could. Yeah, yeah. What about you?
I don't know, I feel like on a plane any movie will make me cry but. The Transformers are crying. Yeah, I know. Anything I know I should I feel like I'm trying to think I saw Oh I know it's really embarrassing with my my kids love that movie. It's called an instant family about like it's like a ROM com but they adopt some foster children and then like, yeah, embarrassing playing at the end, but. Family just is like, you know, it's one of those things that.
You're just like Terms of endurement is the classic if you want to cry. Of course, who doesn't cry at that? You know the performance. Too. Yeah. Favorite film camera to use? I only used one. Yeah, it's like, you know, so. It was digital I. Meant no no, it was odd 35mm. Film. That's why it looked. Panavision. Yeah, that's cool. And you shot digital? I usually should. I always love film, but of course a little shot digitally. So I, I have a new found.
I was like, wow, you made it look beautiful. We were, I always like to shoot film if I can, but we were in such a hurry. So yeah, I was impressed that it doesn't have that creepy digital feeling. That something it felt I thought I was. I was so sure he was shot on film. Your film. Thank you. I just and I think film has a different quality to it, but that's the magic of Philippe Blissor, my DP.
Like he, he, he yeah, I think it just depends if because a lot of times it has like a digital look, but I don't know how how he. How he went away beautiful because he really doesn't look digital at all. Not nothing, but if I like I think some stories. Sometimes I think it's too digital. Yeah, I think it's harder with period films, but I liked Zone of Interest. Felt very crisp and digital to me. I don't know if it was. But it was I think. But I liked but it's meant to.
Be, I think, yeah. Because I feel like it depends on the I. Really it depends on the film. I think period films you want to be on film because it's in the past. The digital feels more immediate but but that one. Totally. Isn't acceptable. Yeah, so because. That's what it was. I mean, I feel like we the part of the shooting it on film was very much like, well, what do I
know? You know, never made a movie before, but my DP was talking to me about my about film and I think that it was a couple things. I was like, well, I want my DP to have a process that he believes in. Yeah, right. Like every day. It's about the look of the whole film. He. Wanted to shoot on film, yeah. He wanted to shoot on film and and we were both talking so well. As long as we don't like destroy the budget, like we'll do it and we fall for it. It's so different.
But also on top of that, I feel like the thing that I felt was like, well, it speaks to the philosophy of the movie, which is that like it is about like the ephemeral or time tangible, right? And there's a part of it where it's like the chemistry of it or, or the, yeah, this. Little mystery, yeah. Yeah, which I think is like or uncertainty. You don't know how it's going to turn out. Yeah, right. That it spoke to what the movie is.
I think that's how it should. Be yeah, I think, I think it I think the story depends on what and yeah, I don't know what the favorite camera usually. Yeah, it's what the DP wants to use. And I like, I always work with people that I love and respect. And you want them to guide? Yeah, how they think totally best. Well, I feel like it's like my DP should be things and I was like, I like that, Yeah, you know. What album do you have on repeat right now?
What album do I feel like I've been listening to? The Mitski's new album Who? Mitski I. Don't know who that is. I. Think you'll like it? Mitski has the new album and I listen to that on repeat. I listen to Hozier this new album on repeat like. I listen to. I don't think I know anything new. What do you? Listen to. I don't know what you're listening to. No. This morning I was listening to Chet Baker. Let's Get lost, because it's winter and we're home and it doesn't make sense.
So morning. Yeah, also. But yeah, I don't have one that I'm over and over listening to. Yeah. Well, I feel like when like a new album comes out and I like the whole album, I just like to listen to it. I like the I feel like my kids don't listen to albums, they just listen to playlist some different songs. But I like like listening to a whole album. Me too, getting into the whole well. Depends on the musician.
Because I saw musicians. I'm like, I feel like this whole album, all the songs are similar idea. Yeah. But then when there is like a bit of storytelling or there's like a clearly like ebb and flow and like, you want this beat to come home. Yeah, it's a whole thing. You listen to the.
Whole thing yeah I know your husband is a musician like does does he recommend or is it kind of a thing where it's like intentionally it means it's like he recommends less you know what I. Mean Oh no, I feel like, I feel bags. I'm always like asking to put music on like, so it's like living with the music supervisor all the time. Like like for this occasion, like we make a playlist for cocktail party or whatever. So it's yeah, it's fun because I love music.
So it's fun to be with someone that knows a lot about music and has good taste. I like their taste. Yeah, I feel like and. Helps me with my soundtracks and yeah. That's amazing though. What? Did you prefer? I can't remember the music? Did you have a score? I did Chris Bear and Dan Rossen from Grizzly Bear. They scored it. Did you just like their music
and asked them to do? It I love their music, but I feel like it was also the conversation that I had with them because of course one level I'm like, you know, like, you know, I'm 35. I'm like, genuinely like, they're like gods to me, right? Grizzly bears, just like, that's my, they're the 1. So it was on one level I was
just like, fangirling. Yeah. But on the other level, I also was like having to really have a conversation because of course you're like, well, do they wanna be a part of a process where they're not crafting an album? Right, Right. It's exciting to them, I. Think it was. But just you have to tell them if you don't like something. Was that? Yeah, yeah, yeah. But it was, I mean, you know, because again, you know, everybody knows I'm the boss.
You know, I have to be like, sadly, I'm the boss. And I and I, it's not an album. It's a movie. Yeah. And I have. We have to work on it together, Yeah. I remember I liked the music, but I can't remember. Yeah, outside of that, which is good. I think that it supported the story. Of course. Well, I think that's what I you really want them more than anything.
And you? Don't want it to be like you want to be thinking about it. No, and also you don't want it to, you don't want it to lead the audience. Yeah, I hate when scores are like really dramatic, telling you how to feel. It really bugs. Me, because my thing is like, then I think that the audience shuts down because I as an audience member shut down. Yeah, I mean, stop telling me what I'm supposed to be. I know. And I think so.
I feel like it's like you kind of want the emotion to get there, arrive, and then you want the music to start. Yeah, right. Kind of support that to. Support that to fully let them give them permission. Yeah, but I don't think that it's a thing where it's like if music it's literally a timing of like is it 6 more frames or later or earlier right. And you're like.
It makes a big difference. Makes a. Huge difference and the and I think if you give audience room to feel it for themselves and then you give them permission with score as opposed to like time to cry. Yeah, yeah, yeah. No. I like when it has a goosebump. I like when it has a goosebump effect, which is usually like after yes or something. Yeah, yeah. But yeah, yeah, I know. I hate when it's I. Know, and I'm so sensitive to it, yeah. So like, yeah.
I wanna ask you something off camera after about that, about a movie. I can cut it. Out totally the did you how did you enjoy the sound design process cuz I found. It how did you find it? Cuz I actually found it so intense for me. Like I was really obsessive. That's the only part where I think, yeah. Yeah, I guess. I don't know. I've just always, I've always loved that part because it's like all of a sudden it becomes
a movie. Like it wasn't, it was a mess and it just makes such a huge difference. I think I luckily have a family friend who's like an uncle who helped me with my first short film and then I always worked with him, but he retired recently. So it's the first time without him. And I was like, oh, no, I can't. Like so I don't think about just trust him so much, but I don't know. I learned so much that Richard Bags was a legendary sound guy.
I remember on Virgin Suicides, he there's a scene where the priest comes to visit them and he gave him a squeaky shoe when he walks up the the stairs. All these details that now, like I think about all the details you can add with the sound. And yeah, I love that process, but it's still mysterious to me because it's not visual, but it's a little abstract.
But I just think even like on Priscilla, like it was like when the sound doesn't happen, then like all of a sudden the movie came together and it felt like a movie where before it was just like a bunch of scenes stuck together. And it's really as a huge. Music as well. I mean my director's cut. I feel like I spend more time even the director's cut before we do any of the sound. Yeah. I feel like I'm so obsessive about sound then temp, Like I feel like I get obsessed with
temp. Yeah. Because I'm like, yeah, but people have to see it. Yeah. And I don't want to sound. Yeah. Too crazy, right? Yeah. And then of course, you go. And then I feel like in the sound design, like I was, I learned. I was asking like about. I'm asking about the process because I'm like, I was in that room for like 14 hours. Yeah, every day. And you know what I mean. Yeah, it's really, Yeah. You can think of that like that when you make a movie.
Yeah, I guess I, I don't know if I spend that much on them because I I kind of let them do their thing and then I review it. But but my editor, Sarah Flock, who's great, is really good with the temp sound like she's really meticulous. It makes a huge difference of all the the timing of all of that. So I think it's something. But I I love that moment when you see it with the first because it's like, it's, it's not terrible. Like it, like it somehow it
totally magically comes. It's the movie. Yeah. It becomes a. Movie, it's really good. It's. Hard to know. What Don't you think it's hard to know when you're done editing? Did you just run out of time and money? No, I think I, I think it is. It was like, I'm sick of your Oh yeah, you're like, it's done. To me, I was like, I could tell I'm like, I think we're good or like I think we're good after this. Yeah. Right after this one little thing.
Yeah, but I think it's because of the way that I was a writer for the longest time, right? Yeah, cuz I mean I feel like knowing when to. Stop. Yeah. Is like part of the job? Yeah. So it's similarly with the editing. I was like, it's very like, I know we're done after this. If I do more, we're gonna start cutting into the things that are good too. So I think that. But sound design, I think is a part where I didn't know when to stop.
Yeah. My sound designer He his nickname for me was not Miss Dog years because I would just find it. Every detail I just. I just would find, I think I would just I'm driving towards a perfection there that is not going to be achieved. Yeah, right, because unless I have a million years, Yeah, right. Because also, like, I hope it's not just me, but I just think that like the sound, it's so subjective. Yeah. So the same like volume hasn't. Changed.
But I listened to it the first time and I was like, it's too loud. Yeah, it's, it's weird how it's like, it's weird how you trust your your impression and it's it. Yeah, after a while that's scary. No, it seems these are too. Yeah. You made me scared because I was like, I thought this whole scene was so loud. Yeah. And now that I hear it and no adjustment has been made. It sounds fun.
It sounds different. Yeah. I feel like that's where you relate, rely on your team, team that you trust them because like, that's what they're totally focused on. So that helps. But yeah, it does. It is abstract and a strange part of it. It is. Well, it's also like, and I think you're right. It's like when it sounds good, like yeah, I still, all I hear is like imperfections, right? Yeah, but like, but I think it's like, but you have to like. There's a part of where you just
have to let. Go, yeah, it's true, there's 11 little thing. You have to tweak it or else it's going to bug you. But yeah, that is a weird part of it. I've blocked this all out. I've forgotten, I forget all. I think it's like you have to forget it all or else it seems to be daunting. Oh yeah. Like it's like going into writing a script I'd never, I forget about like all the different steps you have to go through.
Yeah, you're just like, why? Yeah, I feel like a brand new, you know, I totally get it. Yeah, like you just have to write a script and then figure out the rest later. Of course. I think it's, it's one thing to be naive and less experienced because it's like you don't, but we're like when you're doing it for the first time, you don't know all the steps. And now it's like, but I think you forget it all and it's always, it's always just some
kind of discovery. Well, I think that's so amazing though. So there's this word, there's this word in Korean that's Cho Shim. And it's like Cho is 1st and Shima's heart. So it's about first heart and they talk about it. And it's mainly the thing that people talk about in creative settings and it's about how you have to go back to tuition as in your first. Intuition. Yeah. It's like your first heart. So it's like it's less intuition.
It's a little bit more like what you're talking about, like. Your first impression? You've forgotten. Everything. And you're kind of starting like with the same heart. Oh. Yeah, like a fresh heart, a first.
Heart yeah like so you kind of every time you when you're making your next movie or what I'm sure when you're making Priscilla it's like there's a part of it where you're holding onto the side of it that was working on virgin suicides yeah yeah right you're like they're like I don't know how I don't know how this is going to go or like the. Mystery, I think. Yeah. Yeah, The mystery of it. Yeah. That's a good word. How do you say that, Choshi? And it means first heart, First heart.
And I think about it a lot because I feel like even when you're asking about like, what do you think about the second film or, you know, hopefully like, like you like, you know, so many films. I think when you're there, I think the feeling has to always be like, well, I have to hold on to the first part of it because you can't do you know what I mean? Because you can't just like, think about. I don't know. You cannot build it on the thing that you already made, because
you're it's always. You're always starting over because it has to be you. You're always starting over. Yeah, I think that's what my dad's in his 80s and he's like, so excited about this movie he's working on and like, it's amazing. Yeah. So it's, it's, I feel like you're, yeah, you're always, you're always starting over. You're always starting. Over which makes it exciting. I think that's, but I think that's what makes you feel a lie.
Yeah, you know, and also it makes your work feel alive too. Definitely. Yeah. So it's not like. Same old like. The thing I've done, you know, cuz I think they'll make me so sad if I'm ever there, if I'm 80, you know what I mean? And I'm just like, how many times have I made this movie? You know, you kind of want to be like. Look at me as Aki. Yeah, yeah, I know. It's fun. I sometimes always feel like I'm doing the same story over and over again, that you're always
trying to figure something out. But I feel like doing the same story. I think that's just naturally. Yeah. Like, it's like a it's like, you know, like Tennessee Williams. Yeah. They're all different plays. Yeah. It's all about her sister. Yeah, right. We all have our obsession. Oh, yeah, like Arthur Miller, it's all about, I guess, Marilyn Monroe. Yeah, yeah, yeah. I think it's all about but it's, but it's, they're all different plays, but they are, you know.
Did you study playwriting? Yeah, I went to, I got an MFA, Columbia. Yeah, I'm an MFA for playwriting at Columbia. Did you really meet your husband at a writing retreat like in the movie I? Figured. Edward Albee Foundation. Yeah, Yeah. So Edward Albee has a. Really. Yeah. Do have you been? No where is. It it's like it's in Montauk. Really. Yeah. That's so cool. It's really cool and it's like screenwriters. Go too. You can, yeah.
So I. Didn't know about that, but I saw, I saw a play, a play of his that they redid at Horizons with. I was like the wife kept walking in and out of the room. Yeah, it's not, it's not for genuine. It's not. It's a really famous one, but it's. Three tall women, no. I've seen that right. Yeah, yeah, I think it's three tall women. Yeah, no, it wasn't that one. I forgot what it was called.
Anyway, I'll try to remember, but anyway, yeah, yeah, yeah, that's it. But it's like, well, he and I knew him when he was alive and he came, he used to come to the barn. So me and my husband, we met him there. So cool. It was really cool. Totally magical. Wow, that's so cool. And then, yeah, I feel like it's like it is this barn that he bought and then he just used to just bring his friends over, like Spalding Gray was there. Like, wow, it's really. And now it's playwrights.
Yeah, retreat. It's like artist retreat, and they can go if you're a painter. You can go if you're a photographer. Oh wow. That's so cool, but. There are a lot of those. They've been to McDowell. No, I've never been to those, but I'm going to the Rome Academy in June and and I always thought that would be fun. You and her husband go live in Rome for a year. Yeah, I've I've artist the painter fronts that have done it. And I just thought I have a fantasy that I'll go.
To you're gonna do for a year. No, I'm not doing the residency. I'm just going to, I'm going to like an event they're doing. But a friend that's a sculptor. We were like, let's both go for a year and live in Rome and make art. But sometimes easy. You guys could do that? Yeah, yeah. You check out the Rome Academy. Check it out. We'll check it out. I feel like I've been to a lot of a lot of these artist residency. So they're usually pretty. They are pretty productive, I find.
Yeah, it's cool. Because you're with other people all making. Stuff, yeah. At dinner you meet everyone and then like. But they're different. They're not all writers. No, that's so fun. Just a composer, someone just choreographer. Like, it's kind of like a really like summer camp. It's like summer camp, Yeah. That sounds cool. I'm gonna look into that. I think you should. I have a friend that used to go to Yado. Yeah, Yado's haunted. Oh, really? Yeah, famously.
Oh really? Do you know who the ghost is? Is it like a writer? I think it's like, well, Yado is like how this little girl, very ghostly. Yeah, conversation. But there's that little girl who was the daughter who died, and she used to call the whole place Yatto because she's trying to say shadow. Oh. That's what's called yatto. He's called like a. Yatto and this is so wild. I mean, but I think just like our most haunted places, it's it's one of the most productive residences I've been to.
It's a funny way. Like there is a room where it's like they're like there was a room where Chima Capote was working on something. I feel like maybe in cold blood even. But. And then he, I think he was like 1000% haunted. Like everybody's just. Oh, really? Yeah. And there's a. It's good to write a ghost story. There it. Really is you can do. I think you. I think it's one of the most productive. That's so cool. Yeah, I think I think haunted places are really productive.
Good. To know, yeah, my, my friend who went as a writer, she said they would just, like, leave a little basket with your food and you just have to think about anything. I'm like, yeah, I can check. Yeah. It's really. Nice. But McDowell is the kind of the I think that was the that's the best one. Where's that? For me, it's like it's all kind of like upstate New York or, or like a state nearby New York. Yeah. And that place I feel like my favorite part is the the food. Oh, OK.
McDowell is the. Food that's like, that's. Important because like the chefs come in residency and they just like it's. So cool, I had never thought. I always just like go to a hotel for when I need to finish writing something. I mean I need to. That's nice though. I'm. Like I need to, I need to apply to some like the camaraderie too, the. Oh, yeah. And you just meet people that you wouldn't have met. Yeah. Right. Just like, like, like a painter from Texas and you're like, I
would never have met you. Yeah, That's cool if it wasn't for this. Yeah.