Ben Stiller

Yeah. Well, when we started working together, we hadn't known each other at all and delved into this eight-hour limited series. And I was taken with your work because it felt very filmic. And you're growing up in Montreal and watching movies. You worked at your dad's video store. I'm wondering what you watched growing up that inspired you.

But just already, already it's a little anachronistic because, you know, you're of an age when you're a kid that people were switching over to at least to DVDs at that point.

But just already, already it's a little anachronistic because, you know, you're of an age when you're a kid that people were switching over to at least to DVDs at that point.

But just already, already it's a little anachronistic because, you know, you're of an age when you're a kid that people were switching over to at least to DVDs at that point.

Did he make a conscious choice to keep the video store open in the face of the changing world?

Did he make a conscious choice to keep the video store open in the face of the changing world?

Did he make a conscious choice to keep the video store open in the face of the changing world?

And I feel like I don't even remember how we started to develop Severance. this look, but we'd already worked together. So we kind of rolled into it. And I know with you, it's always imagery is like a big part of it and saying, hey, check out this photographer. Let's look at these pictures. Let's look at maybe look at this movie. Let's look at this movie you've never heard of.

And I feel like I don't even remember how we started to develop Severance. this look, but we'd already worked together. So we kind of rolled into it. And I know with you, it's always imagery is like a big part of it and saying, hey, check out this photographer. Let's look at these pictures. Let's look at maybe look at this movie. Let's look at this movie you've never heard of.

And I feel like I don't even remember how we started to develop Severance. this look, but we'd already worked together. So we kind of rolled into it. And I know with you, it's always imagery is like a big part of it and saying, hey, check out this photographer. Let's look at these pictures. Let's look at maybe look at this movie. Let's look at this movie you've never heard of.

I remember when we did Dan Morrow, you showed me a Tarkovsky's movie, Stalker, and it blew my mind. And of course, I'd heard of Tarkovsky, but I'd never watched. And you opened me up to that.

I remember when we did Dan Morrow, you showed me a Tarkovsky's movie, Stalker, and it blew my mind. And of course, I'd heard of Tarkovsky, but I'd never watched. And you opened me up to that.

I remember when we did Dan Morrow, you showed me a Tarkovsky's movie, Stalker, and it blew my mind. And of course, I'd heard of Tarkovsky, but I'd never watched. And you opened me up to that.

Yeah, I mean, it's interesting on episode seven, which we can get into talking about, you know, you also acted as your own cinematographer. And how did that go for you? Because I felt from my perspective, watching you do your thing, it's sort of like was sort of seamless in that it was just sort of an extension of you sort of being able to express what you want to express.

Yeah, I mean, it's interesting on episode seven, which we can get into talking about, you know, you also acted as your own cinematographer. And how did that go for you? Because I felt from my perspective, watching you do your thing, it's sort of like was sort of seamless in that it was just sort of an extension of you sort of being able to express what you want to express.

Yeah, I mean, it's interesting on episode seven, which we can get into talking about, you know, you also acted as your own cinematographer. And how did that go for you? Because I felt from my perspective, watching you do your thing, it's sort of like was sort of seamless in that it was just sort of an extension of you sort of being able to express what you want to express.

You brought in Max Goldman for the film portion of the Gemma and Mark story.

You brought in Max Goldman for the film portion of the Gemma and Mark story.

You brought in Max Goldman for the film portion of the Gemma and Mark story.

And, you know, I found working with you, you always gave me a lot of confidence as a director to take a chance. But you didn't have that for yourself, except, you know, every once in a while I'd pop over. But you had me shooting second unit, which I was right.