Denis Villeneuve

And that I thought was a nice thing in this movie. In the short story, sorry.

You have to read the short story. The short story is a masterpiece. It's like 28 pages or something written by Ted Chiang, a very, very strong sci-fi writer. And it's like, it's a little gem, yeah.

You have to read the short story. The short story is a masterpiece. It's like 28 pages or something written by Ted Chiang, a very, very strong sci-fi writer. And it's like, it's a little gem, yeah.

You have to read the short story. The short story is a masterpiece. It's like 28 pages or something written by Ted Chiang, a very, very strong sci-fi writer. And it's like, it's a little gem, yeah.

It's a good question because through the movies I've made, I always have the weird impression sometimes that the movie are choosing me more than us. It's like the project comes and there's something, a connection that is sometimes difficult to explain that is very intimate with the project. But recently, I've been more drawn towards books that I've been with me since a long time.

It's a good question because through the movies I've made, I always have the weird impression sometimes that the movie are choosing me more than us. It's like the project comes and there's something, a connection that is sometimes difficult to explain that is very intimate with the project. But recently, I've been more drawn towards books that I've been with me since a long time.

It's a good question because through the movies I've made, I always have the weird impression sometimes that the movie are choosing me more than us. It's like the project comes and there's something, a connection that is sometimes difficult to explain that is very intimate with the project. But recently, I've been more drawn towards books that I've been with me since a long time.

Like the Dune books, the books that I read when I was a teenager and those books have deep roots in my mind, in my soul. Those books have been with me through through the years, and I know that because I have a relationship of decades with these books, I know that it means something so deep that it makes sense to spend years trying to adapt them.

Like the Dune books, the books that I read when I was a teenager and those books have deep roots in my mind, in my soul. Those books have been with me through through the years, and I know that because I have a relationship of decades with these books, I know that it means something so deep that it makes sense to spend years trying to adapt them.

Like the Dune books, the books that I read when I was a teenager and those books have deep roots in my mind, in my soul. Those books have been with me through through the years, and I know that because I have a relationship of decades with these books, I know that it means something so deep that it makes sense to spend years trying to adapt them.

I would have the same relationship with a book that I'm starting to work on in an adaptation of Arthur C. Clarke, Rendez-vous with Rama, which is a space movie that takes place in space. It's a book I have read when I was very young. Again, it's a book that stayed with me through the years. And when they have roots like that, it's a... But to answer to your question, yeah, existential is moving.

I would have the same relationship with a book that I'm starting to work on in an adaptation of Arthur C. Clarke, Rendez-vous with Rama, which is a space movie that takes place in space. It's a book I have read when I was very young. Again, it's a book that stayed with me through the years. And when they have roots like that, it's a... But to answer to your question, yeah, existential is moving.

I would have the same relationship with a book that I'm starting to work on in an adaptation of Arthur C. Clarke, Rendez-vous with Rama, which is a space movie that takes place in space. It's a book I have read when I was very young. Again, it's a book that stayed with me through the years. And when they have roots like that, it's a... But to answer to your question, yeah, existential is moving.

About the question about our... Why are we here?

About the question about our... Why are we here?

About the question about our... Why are we here?

For Tracy, that's the composer Hans Zimmer. Yeah, yeah, yeah. Why did you choose the composer first? Because I knew that I will need the score in Dune will be essential, will be absolutely crucial to the success of the movie to bring that kind of sacred quality that I wanted. And also because it's like, it's a matter of context. I was working with Hans. He asked me, what will you do next?

For Tracy, that's the composer Hans Zimmer. Yeah, yeah, yeah. Why did you choose the composer first? Because I knew that I will need the score in Dune will be essential, will be absolutely crucial to the success of the movie to bring that kind of sacred quality that I wanted. And also because it's like, it's a matter of context. I was working with Hans. He asked me, what will you do next?

For Tracy, that's the composer Hans Zimmer. Yeah, yeah, yeah. Why did you choose the composer first? Because I knew that I will need the score in Dune will be essential, will be absolutely crucial to the success of the movie to bring that kind of sacred quality that I wanted. And also because it's like, it's a matter of context. I was working with Hans. He asked me, what will you do next?

And we were talking about Dune and I saw his face change because it's start to talk about it and brainstorm about it. And Hans said to me that he had not seen the David Lynch movie because he wanted to stay pure, a virgin. He didn't want to see... He said, one day I know I'm going to make the score for a new adaptation and I want to know nothing about what has been done.