Ben Stiller

Right. And which is daunting, too, you know, because it's like, all right, how do I do this? But it's also to me, it's like sort of the most subjective thing where you just go, OK, you know, how would how do I see this? How would I want to see this? I think when I just got to the idea of like basically like what would I want to see?

What would because I do love comedy and I love comedies growing up. But I also really love just dramatic movies. So I just started thinking like, well, what would I want to see? And with Escape at Danmore, I was like, yeah, I would love to see this. If it was a movie, limited series, whatever. And the vibe and the feeling, I think for me was so much, like it was so clear that,

What would because I do love comedy and I love comedies growing up. But I also really love just dramatic movies. So I just started thinking like, well, what would I want to see? And with Escape at Danmore, I was like, yeah, I would love to see this. If it was a movie, limited series, whatever. And the vibe and the feeling, I think for me was so much, like it was so clear that,

What would because I do love comedy and I love comedies growing up. But I also really love just dramatic movies. So I just started thinking like, well, what would I want to see? And with Escape at Danmore, I was like, yeah, I would love to see this. If it was a movie, limited series, whatever. And the vibe and the feeling, I think for me was so much, like it was so clear that,

And yeah, then you just take the time and work again collaboratively with people who you think are really talented and you have a similar sensibility. And, you know, you have these partners, you're a cinematographer, production designer, costume designer. Dan Amora was Michael Tolkien and Brett Johnson, these two great writers.

And yeah, then you just take the time and work again collaboratively with people who you think are really talented and you have a similar sensibility. And, you know, you have these partners, you're a cinematographer, production designer, costume designer. Dan Amora was Michael Tolkien and Brett Johnson, these two great writers.

And yeah, then you just take the time and work again collaboratively with people who you think are really talented and you have a similar sensibility. And, you know, you have these partners, you're a cinematographer, production designer, costume designer. Dan Amora was Michael Tolkien and Brett Johnson, these two great writers.

And, you know, the truth of what happened in that story was to me was sort of like what I was like most interested in because it scared me, too, because I'd never done a prison escape before. movie. And I was like, all right, well, I have no idea how to, like, how do I do this and make it real? How do I make it feel authentic?

And, you know, the truth of what happened in that story was to me was sort of like what I was like most interested in because it scared me, too, because I'd never done a prison escape before. movie. And I was like, all right, well, I have no idea how to, like, how do I do this and make it real? How do I make it feel authentic?

And, you know, the truth of what happened in that story was to me was sort of like what I was like most interested in because it scared me, too, because I'd never done a prison escape before. movie. And I was like, all right, well, I have no idea how to, like, how do I do this and make it real? How do I make it feel authentic?

And so I just went to the real facts and the, and, and the more I learned about what actually happened and got to the real places, I just said, all right, I'm just going to go for the real thing. Because that was what was fascinating to me about that story was that how could a prison escape like this happen in 2015? That feels like something out of like escape from Alcatraz or something.

And so I just went to the real facts and the, and, and the more I learned about what actually happened and got to the real places, I just said, all right, I'm just going to go for the real thing. Because that was what was fascinating to me about that story was that how could a prison escape like this happen in 2015? That feels like something out of like escape from Alcatraz or something.

And so I just went to the real facts and the, and, and the more I learned about what actually happened and got to the real places, I just said, all right, I'm just going to go for the real thing. Because that was what was fascinating to me about that story was that how could a prison escape like this happen in 2015? That feels like something out of like escape from Alcatraz or something.

And then you realize, oh, there's like the system that's in place at this old prison. You know, it's, it's, there's so many places where, you know, things can go wrong and also the hierarchy of how it works there in terms of with the guards and the prisoners and, uh, you know, the, I mean, the dynamics in a prison, it's a huge prison too.

And then you realize, oh, there's like the system that's in place at this old prison. You know, it's, it's, there's so many places where, you know, things can go wrong and also the hierarchy of how it works there in terms of with the guards and the prisoners and, uh, you know, the, I mean, the dynamics in a prison, it's a huge prison too.

And then you realize, oh, there's like the system that's in place at this old prison. You know, it's, it's, there's so many places where, you know, things can go wrong and also the hierarchy of how it works there in terms of with the guards and the prisoners and, uh, you know, the, I mean, the dynamics in a prison, it's a huge prison too.

So, you know, it's like its own little, you know, city or something. And so the more I talked to real people who experienced it and got the details, I was just, that was really fun for me. And then cinematically, yeah, it's fun to like figure out how to do something that, you know, hopefully look cool and be intriguing.

So, you know, it's like its own little, you know, city or something. And so the more I talked to real people who experienced it and got the details, I was just, that was really fun for me. And then cinematically, yeah, it's fun to like figure out how to do something that, you know, hopefully look cool and be intriguing.

So, you know, it's like its own little, you know, city or something. And so the more I talked to real people who experienced it and got the details, I was just, that was really fun for me. And then cinematically, yeah, it's fun to like figure out how to do something that, you know, hopefully look cool and be intriguing.

Yeah.