Jesse Eisenberg

much of his work. And so when I was writing this movie, A Real Pain, I was listening to his music and I started putting his music in the scenes, in the script.

much of his work. And so when I was writing this movie, A Real Pain, I was listening to his music and I started putting his music in the scenes, in the script.

I would say, like, over the scene, this track is playing, which turned out to be just wonderfully beneficial because on set, I would play the music that would be underscoring the scene so that the actors and that the cameramen had a feel for what the tone is going to be. So I would give it to the dolly grip, which is the guy who pushes the camera and who sets the pace for the scene.

I would say, like, over the scene, this track is playing, which turned out to be just wonderfully beneficial because on set, I would play the music that would be underscoring the scene so that the actors and that the cameramen had a feel for what the tone is going to be. So I would give it to the dolly grip, which is the guy who pushes the camera and who sets the pace for the scene.

I would say, like, over the scene, this track is playing, which turned out to be just wonderfully beneficial because on set, I would play the music that would be underscoring the scene so that the actors and that the cameramen had a feel for what the tone is going to be. So I would give it to the dolly grip, which is the guy who pushes the camera and who sets the pace for the scene.

And I would say, this is the song that's playing underneath, so can we try to you know, use this as, you know, as a guide for the pacing. So it was really, really wonderful and helpful. And I just, you know, I'm not a classical music buff, but I am a Chopin buff.

And I would say, this is the song that's playing underneath, so can we try to you know, use this as, you know, as a guide for the pacing. So it was really, really wonderful and helpful. And I just, you know, I'm not a classical music buff, but I am a Chopin buff.

And I would say, this is the song that's playing underneath, so can we try to you know, use this as, you know, as a guide for the pacing. So it was really, really wonderful and helpful. And I just, you know, I'm not a classical music buff, but I am a Chopin buff.

Oh, my God, of course. I'm allowed to dictate that kind of thing.

Oh, my God, of course. I'm allowed to dictate that kind of thing.

Oh, my God, of course. I'm allowed to dictate that kind of thing.

Yeah. Of course. That's amazing. Right. So my favorite piece of his is Opus 25, number one. It's the scene that plays over the ending of the movie. It's also colloquially known as Aurelian Harp.

Yeah. Of course. That's amazing. Right. So my favorite piece of his is Opus 25, number one. It's the scene that plays over the ending of the movie. It's also colloquially known as Aurelian Harp.

Yeah. Of course. That's amazing. Right. So my favorite piece of his is Opus 25, number one. It's the scene that plays over the ending of the movie. It's also colloquially known as Aurelian Harp.

Thanks. What a privilege to speak to you finally. Thank you.

Thanks. What a privilege to speak to you finally. Thank you.

Thanks. What a privilege to speak to you finally. Thank you.

Relationship status. Interested in. This is what drives life in college. Are you having sex or aren't you? It's white people.

Relationship status. Interested in. This is what drives life in college. Are you having sex or aren't you? It's white people.

Relationship status. Interested in. This is what drives life in college. Are you having sex or aren't you? It's white people.