Madelaine Petsch

Oh, interesting.

And I'll take an I don't understand it because it's like, okay, I can do a better job helping you understand it.

But it's also that means there's no comp.

Like a lot of the times people will be like, what's the comp?

And I'm like, well, my design is to hopefully make things that are uncompable.

Like I can say it's this meets this meets this in this universe, but that's not really a comp.

I don't want to make things that have a direct relation.

That's not interesting to me.

And, you know, sometimes it is.

But as a producer, I find it's more interesting to try to find the stories that haven't been told.

There's not a lot of them anymore.

Right.

Right.

So you got to find new iterations of old things as well.

But even like a new filmmaker on an old story is a new lens.

Well, a ship.

What I like about a ship, though, producerially, is it's contained.

And period piece and one set piece does actually remove the problem with period.

So I think it's not the – That's an interesting way to talk about it.

Because people usually hate period because they're like, we have to get old cars and we have to make buildings different and every background has to be dressed differently.