Adrien Brody

Yeah, it's quite demanding. It gives off this impression of everything being off the cuff and quirky and alive. But it requires such a precision, not only from the actors, but from the camera department, lighting shifts. He does a lot of practical effects. He'll have cameras coming on and off of a dolly, for instance. So that's very challenging to do smoothly. And that is essentially...

Yeah, it's quite demanding. It gives off this impression of everything being off the cuff and quirky and alive. But it requires such a precision, not only from the actors, but from the camera department, lighting shifts. He does a lot of practical effects. He'll have cameras coming on and off of a dolly, for instance. So that's very challenging to do smoothly. And that is essentially...

Yeah, it's quite demanding. It gives off this impression of everything being off the cuff and quirky and alive. But it requires such a precision, not only from the actors, but from the camera department, lighting shifts. He does a lot of practical effects. He'll have cameras coming on and off of a dolly, for instance. So that's very challenging to do smoothly. And that is essentially...

Sanji, who's our, his master, Dali Grip, who has been with us and with him since we worked on Darjeeling together and is now part of, you know, his, his crew on everything, um, is, is really a master at his craft. And, um, so much is a dance between us and him enabling those shots to work.

Sanji, who's our, his master, Dali Grip, who has been with us and with him since we worked on Darjeeling together and is now part of, you know, his, his crew on everything, um, is, is really a master at his craft. And, um, so much is a dance between us and him enabling those shots to work.

Sanji, who's our, his master, Dali Grip, who has been with us and with him since we worked on Darjeeling together and is now part of, you know, his, his crew on everything, um, is, is really a master at his craft. And, um, so much is a dance between us and him enabling those shots to work.

And he will literally have the complex task of coming off a dolly track and going on to a very smooth surface and then reconnecting to a new track and going along another set of rails.

And he will literally have the complex task of coming off a dolly track and going on to a very smooth surface and then reconnecting to a new track and going along another set of rails.

And he will literally have the complex task of coming off a dolly track and going on to a very smooth surface and then reconnecting to a new track and going along another set of rails.

Everyone's hoping that nobody else drops the ball because you have to just do it again and again until you're all in sync. And, you know, I know through experience what works for Wes and what doesn't. I know how not to veer from Wes. Certain things that are quite important to him. And certain actors are very good at that. And certain actors are less good at that specificity.

Everyone's hoping that nobody else drops the ball because you have to just do it again and again until you're all in sync. And, you know, I know through experience what works for Wes and what doesn't. I know how not to veer from Wes. Certain things that are quite important to him. And certain actors are very good at that. And certain actors are less good at that specificity.

Everyone's hoping that nobody else drops the ball because you have to just do it again and again until you're all in sync. And, you know, I know through experience what works for Wes and what doesn't. I know how not to veer from Wes. Certain things that are quite important to him. And certain actors are very good at that. And certain actors are less good at that specificity.

And you're all working together in this moving master. And it has to be... It's very exacting. And I do remember a scene where I was up... At the end of the scene in the French Dispatch, Tilda Swinton and Lois Smith, who is a wonderful actress who was probably in her late 70s and her 80s, had this massive monologue. to deliver with tremendous precision, as well as Tilda.

And you're all working together in this moving master. And it has to be... It's very exacting. And I do remember a scene where I was up... At the end of the scene in the French Dispatch, Tilda Swinton and Lois Smith, who is a wonderful actress who was probably in her late 70s and her 80s, had this massive monologue. to deliver with tremendous precision, as well as Tilda.

And you're all working together in this moving master. And it has to be... It's very exacting. And I do remember a scene where I was up... At the end of the scene in the French Dispatch, Tilda Swinton and Lois Smith, who is a wonderful actress who was probably in her late 70s and her 80s, had this massive monologue. to deliver with tremendous precision, as well as Tilda.

And then there were all these complex camera moves, and then it lands on me, and then I have this monologue to finish it. And it was such pressure to not ruin it when I knew that they had done something so perfect. So to be last up is a real... You better hit it home.

And then there were all these complex camera moves, and then it lands on me, and then I have this monologue to finish it. And it was such pressure to not ruin it when I knew that they had done something so perfect. So to be last up is a real... You better hit it home.

And then there were all these complex camera moves, and then it lands on me, and then I have this monologue to finish it. And it was such pressure to not ruin it when I knew that they had done something so perfect. So to be last up is a real... You better hit it home.

Oh, yeah. But, I mean, it's a team effort, and there is a need for everyone to lift everyone else up for it to work.

Oh, yeah. But, I mean, it's a team effort, and there is a need for everyone to lift everyone else up for it to work.