Pete Travis

0:26Pete, thank you so much. Thank you. Really love this film. Like I was telling you before, the slow motion just looks amazing. Everything about it is just, it really dread makes the film obviously, but the slow motion really builds it up to another level. So talk about, I guess, creating that. The slow motion was in Alex's script. That was the central part of one of the things he wanted to do. He came up with the idea of the drug that would slow your brain down to one percent, his normal speed. And he wanted the correct sense of, in this cruel, brutal world, people looked for moments of beauty. And that's why they took the drug. And I think at the heart of it was to try to be true to the vision that Alex had, which was in this horrible dark world, people were still searched for beauty.

1:12And interestingly about this film, and I guess it comes from Alex's script as well, is that there's no backstory to dread. You just, you hit the ground running as soon as the film starts. There he is. So how do you build a character that people root for, although you're not rooting for him? You are. How do you do that without a backstory? I think the genius of the script is that you do just drop into it. It's like one day in his life. And you find out everything you need to know about dread in the course of what he has to do in this one day. And I think that's a simple, but beautiful idea. And I think it tells you everything you need to know because you pit dread against somebody that's almost the opposite of him. And that really tells you something about both of them. Absolutely. What, you obviously casted the movie.

1:58So what did Karl and Olivia bring to the picture that you couldn't find elsewhere? Karl seemed to just embody dread. He brought a depth of awareness about his inner life and who he was that was kind of extraordinary I think when we first heard Karl speak the words that the read through, it was really quite scary because it's like dread was in the room. But I think the main thing he brought to it was an extraordinary stillness. When you can't see an act as ours, you'd think a lot of acts would be terrified by the idea of that. Karl embraced it and really gave us something totally compelling. I would sit and watch dailies. He would all sit and watch dailies. And you couldn't not take your eyes off him.

2:46And that's beautiful still acting that really makes you want to understand what's going on when you can't see his face. When do you shoot a lot of takes or do you like to just get a couple and really get that performance right away when you know you haven't, you have it? I think you just do it till you have it. I don't think you have rules about things like that. Well typically, at least on this film, did it take a lot or were you reaching pretty quickly? It was not, just the normal number of takes till you get what you want. I mean it wasn't any different from any other film in that respect. Alright cool, well thank you very much. Thank you. Appreciate it. Thank you. The ghost she actually saw was over. The sentence is death.