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The Lighthouse with Robert Eggers and Rian Johnson (Episode 226)


Hello and thanks for tuning into another episode of the Director's cut brought subscribe to our show. Wherever you go your podcasts new psychological thriller the Lighthouse set in eighteen nineties New England the sanity they become threatened by their own nightmares in addition to the lighthouse at the Digi a theater in Los Angeles Mr Eggers spoke with Director Ryan Johnson about filming demint? Thanks yeah there's nothing gee thanks but so I'm going to I'm going to be very selfish of your first movie the witch which the APP please for that I'm curious with the path west to this I'm sure as someone who made from putting the witcher and having it be very well received slater somebody was contacting agent about like Franchisee now the movie and and are GonNa find the audience that it did I really I really didn't I know that I thought it was bad up the opportunities that had been given to me and I was developed developing my brother and I said Max remember that lighthouse movie we talked about like it doesn't materialize so basically when we were trying to and a few months later he said it wasn't really working out so I asked him if I could take contemporary and had a ghost and it was whatever but when he goes during the lighthouse I pictured this black that could suit that atmosphere and I started to research and and wanting the lighthouse station to be dilapidated that men and was going to be in the One thousand nine hundred whatever it was good to know flatulence was written in from the start that brings me comfort the giant Phallus right and so every every every fluid look the which has to take itself very seriously and be aside from the twins thought you know if I'm going to explore misery again we're going to have to be able to laugh in the face of miserable audience members who hasn't clicked for ironically are big how do I how Iraq to a serious farts that was that was green lit I'm on my slate the most with him it was a twenty four from the start or did they where it was where can you shoot it version for certain foreign markets that won't know okay let's call twenty four I mean this thing this exists yeah so they were all on board that's such a distinct choice also because a lot of times you shoot color even just see you'll go into that level what how much of that was just you wanting to get back to the two Tori or something you know what were the factors in your head it sounds like it came kind of fully formed nothing good to say about the cinematic language of my movies I it's very much a collaboration ah alone than we come together and make our greatest hits he's usually elevating the we did there were some scenes that we kind of did together on this one just because of time in time yeah so so we've been fantasizing about Ortho chromatic film stock would really be the way to go which you know rosy skin tones on occasion face like renders darker so in the Eisenstein I was GonNa say you know and we we looked into it but but and we couldn't have afforded the blacks bottom out suddenly in a way that's very satisfying and just worked with Schneider to develop a custom or chromatic filter for pets lenses from the from the nineteenth century designs were newer and but mainly soften some of the micro contracts and create a interesting glow what speed so obviously we weren't lighting it like an old movie you would there be a movie light lighting the scene but we did is we had like six hundred watt so bright you people were wearing sunglasses when we were doing night interiors one it says the old it takes place in a time when black photography existed ah Maher Mar things and again with this Ortho chromatic filter in Knox are the aspect ratio we were shooting in one nineteen one early sound he passed his shooting vertical objects like the smoke stacks and where we have our lighthouse taller so it's a great aspect ratio for these close ups you don't need created by God to be in this movie if you'll so perfect so speaking of living and which also I want the double question I guess in terms of tip of Nova Scotia so and and in addition to that talk a little bit about the actual lighthouse yeah so so so what the hell in a perfect world I movie I needed to try to find a lighthouse tower that would work or to find the most inhospitable punishing rock in the Atlantic they had to build that thing in the dead of winter three Nor'easters blew over Cape Four Cornell Lens up their ways one time so it was you know on our nations so we could use that as as a cover set whenever the weather was Nice Tower for example like we needed to have wild walls to fit the camera uh-huh a lot of the most extreme weather is Israel out of the boat house and there's like waves crashing that's done in a controlled way so we don't lose robin done with practical effects but no CG and Talk about those two guys talk about I know I know you guys did rehearsal but but but basically because we're really pre planning planning planning planning ahead of time so before Willman rob get there official they already have a sense of it and also because there's so much dialogue in this movie I did want a sense they look Robin Willem they to to what the directors doing in order for the film to have a chance but then it looked as to fill ask rob you performance defoe comes from theater and has boundless energy so he created because he wants to keep things save Save Save Save Save it but and Robert Patterson's character is shrouded in mystery and doesn't want to say so but but the camera sees the truth well it's the biggest comic imagine that feels very doesn't feel boxed in or Dan or a cute I guess folks because of his theater training like defoe would tell you doing the block the the the the camera positions and the camera movement is seeing repeat the question so the question was about folklore in there was about careers as well what what other sources drive from yeah thanks and I really really really really cinema but and that's always like lighthouse keepers and reading lighthouse manuals my my brother and I were helpful as well but but of course we don't speak in in we're and look at like housekeepers journals whatever but the most helpful source was a woman in dialect so so studying her work was was R- really incredibly Yeah I was getting the exact answer the it was dirt will will William it someone asked me like why didn't you shoot that on stage earlier And we were shoveling in his face Neil Neil Davidson the story about the half take well well you blend so what we do like very quickly and then take three was quite incredible and because accommodate that so out of a bad series of coincidences and but to the Nova Scotia if you ever have the opportunity to make a movie in Nova Scotia I've ever make sense about you know really jumping in there that got them there a good some good goal performance in this movie yeah a yeah thanks seagulls there great we really didn't we shot with the stand in a puppet stand in which makes a couple of very very fleeting UK that were classically trained British actors and yeah fantastic sound design in the movie and what's the process how short films that are not terrible and I wanted him to do the it was on us and he's so uncompromising and we'll have that when you're working with what you have and Damian started early and keep it of course you have core cited but then when we were shooting on Cape Force you and the no no some this is something else but it was it was it was a tough job thing for most of the film and understand that it could drive rubber patents and crazy without making orange

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