Marseille, Steve Goal, Oklahoma discussed on The Director's Cut

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In the show and in the film right up to the Day players who just kind of come in and we used a lot of local casting in this because marseille who are excellent. What's yeah they were just great faces and great people and so game and so where he and every one of them because you know in marseille the dialects different so it wouldn't matter as much this audience but if you're from paris french people in here you know we needed that sound. I needed them to sound like they're from that region so the detective at the end. Yeah everybody there's just so many great roles that were just really enjoyable to cast. But i think with each actor it was like you know. We're talking about dissipated dinner but like with matt. It was just really felt like you know look. We went to oklahoma together matinee. We drove a row. I sat with roughnecks. We just kept talking talking talking really ultimately giving him permission to just not be matt damon. I think that was the biggest thing just like just everyday letting him know. You can totally get lost in this. No one here knows you. You're going to look different. You're gonna walk different. You're gonna move different. Your your rhythm is going to be different and your integrity will be different. What what you are is going to be different so it was really neat. Just giving him the sort of. I think not that he needs it but that little extra boost to kind of dive in come to that in a moment but in terms of having made all of your films here and then you go and you make a film in france. How difficult was it to communicate with the crew. Did you have a translator speaking french apart from. You're not that hard man. Those guys are just they're ballers there. They know how to make movies. They've been doing it for a long time. They make a lot of film community. They really embrace their own movies. They're movie is incredibly vibrant and they found a way and i spoke just enough to get by and it was really exciting. What happened really was interesting. This movie and steve goal and moan was my wonderful producer. Who passed away before we made. It sorta did back napkin and what it would cost and he just underestimated it because the cost of going to marseille was huge and so we had to shrink in a way. Our cost was going up and my crews were shrinking. And i remember film messina. My wonderful production designer called me. He's like so it was just like an independent movie now and i was like no. It's not an independent movie. Because we're spending way too much money and i would never get you and masa and wall all these other wonderful people in carin if it was an independent movie. I just couldn't afford you so we're european movie now so now. There's a lot of talented people working with less and being more hands on. So that means phil you're going to be on set with me. You're not going to be three days ahead of me. And it made a difference and you know masa always operates anyway so just like suddenly. My team was sort of more together all the time in terms of my keys and you could feel it in how we were and like deeply supported by our majority. French grew what i loved about the film as you have very direct and kind of unselfconsciously aesthetic Which is i mentioned to you. Last time i was on the stage before the pandemic i interviewed a clint eastwood for the film that he had. That was just coming out On richard jewel and it reminds me of his aesthetic. I mean if you look closely you think oh. This is a film that could have dreamt that it's it isn't showy but it's so powerful in so clear and what it wants to say Did you in. Mazda did whether films that you looked at. This is the third film and tom mentioned he. And i share cinematographer. Was this the third the third time you've worked with him. Not specifically. We do talk a lot on movies. There's none that like we kind of you know earmarked is like that's our aesthetic. I think we were just building on what we've done. Quite frankly and i think we both feel like you know we believe in stepping back and really letting the world and the actors play right in sort of giving them that space to do it and in this case we're very static in in oklahoma. We're using a slightly different and more thickly changed. And we're anamour. If it can oklahoma kind of wide frame with short depth of field just so we could just be really isolate matt really feel his isolation and his grounded nece and then then. When we got to marseilles we we went spherical went very hand-held went just moved the camera more. We wanted to feel the energy and it was a little dirtier. The frame was just thirty. Or which is marseille In a great way. So i think that's those are the kind of choices when trying to grab this. But they're still a classical storytelling approach to what i do. Even though this structure is very unclassical right the structure of the movie and is very unclassical. And its approach. So it's combining those those elements. And i think that is a bit of a nod european so making too right like what they do. So you know i think for all of us. It was really just trying to find a tone. I think tone is everything we knew we were going to be moving through genre and different story points and different moments that we're going to sort of be unexpected for an audience but the tone had to remain really i think that's always the directors greatest task right. Hold the tone. If you hold the tone and the performances of solid the audience will have a path the locations that you and your production designer really spectacular really grounded film in in a in a non terrific marseille which i really appreciate it. What were you. What were you looking for when you were scouting. Just that right. Not the postcard. We didn't want the postcard of the city or france. And we we knew. We were in american team primarily setting up there and we needed to feel authentic. This wasn't a backdrop right. It wasn't the born movies where drop in all these great european cities to great effect. I love those movies. This we need to feel inside we needed to live with it and it's incredibly subtle but it's incredibly specific right so we needed to kind of like we didn't shoot on a stage and in all of marseille every location was live and it was just like we were lucky as you said. We were fortunate to be able to do this to go find that and live in it and it certainly provides the actors which is so crucial to just this reality that they can live in and then finally you know matt's character. By the time it gets the marseille he was so formed. it was just fun watching him move through. The city was like sandwich bag. Even what's hat subway saying. Yeah but that was the thing we're like all right. Where was the subway okay. There's one three blocks down there. He would go there every single night because he has no no intent on sort of investing in the culture in any way until he's sort of finds himself there with version. I think it's one of the most immersive performances. I've seen from that in some time. Which is testament to your direction and script and both of you really doing the research to for him to be believable as someone who's roughnecks i. I bought every every moment of it in matt isn't a torey. Ously selective actor. What was the process of getting him. Attached had you send him scripts in the past. Have he has said we never worked out. Isn't it just know some of was timing. Is it always and everything. But this was really quick and he was sort of top on my list. I think we felt like we needed an actor of that stature. Not just to get the movie made. But i needed someone to audiences both in america and globally to be like. Oh he's a hero. He has integrity. He's going to do the right thing. Because we knew we're at a moment in time where we had to start subverting expectations not just cinematic but in terms of humanity you know we had to like weird where two different everything was sort of upside down so i want an audience to come in.

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