Richard Linklater

So I don't mind anyone shaking that up and really challenging that.

Godard did it.

And by frustrating Seberg, Belmondo was along for the ride.

And, you know, they put in a lot of that later.

They didn't even have a sound department.

So what they're talking, but they really did a lot in post too.

So it was forever being created, you know, all the way down the line.

It was a film coming into being.

It wasn't pre-planned and rendered by any means.

You know, I know the movie really well.

Over the last 40-something years, I've probably seen it 20, somewhere 20, 25 times, just naturally.

But even as we started to make this movie, I didn't really watch it again, I don't think, even.

I started watching...

the scenes that we were replicating, and that was just a technical.

I mean, it's fascinating to be under the hood of another movie to this degree, but we're reproducing these moments usually from the other angle.

We're not reproducing imagery from that movie, but you're seeing it kind of more fascinatingly, like when she's selling New York Herald Tribunes.

Walking down the street, famous scene, but the camera's really in a mail cart.

They're pushing it.

No one knows they're making a movie.

So we're in front of them, not behind them, and we're seeing the apparatus.