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00:00 What would you think of a Dune musical?
00:02 You know, Paul riding the sandworm and singing.
00:05 We have to recast the entire thing.
00:06 Do you want to do a musical?
00:07 Paul!
00:16 It's okay.
00:18 I'm here.
00:20 I'm here.
00:21 It's been a while since you've had one of those nightmares.
00:24 Tell me, what was it about?
00:27 Timothy, I wonder how different it is the process for finding your way to portray a
00:32 character for the first time from reconnecting with it after some time.
00:37 So, where did you start?
00:38 And I don't know, did you remember the Sandwalk?
00:41 Yeah, well, you know, I always felt close to the character.
00:45 I think it was more assimilating into the tone of the movie once more and getting a
00:49 sense of this universe.
00:50 And I don't want to say the heaviness, but how seriously it's felt.
00:53 Because I was coming from Wonka, where the world is fantastical and magical, and I just
00:57 had to make sure my brain was sort of ratcheting up back into this sort of dark place that
01:03 Paul Atreides is by the end of the first movie.
01:05 Besides that, then once you're with the same characters, the Lady Jessica, Rebecca Ferguson,
01:08 Zendaya, and Shani, they kind of get you going in the same headspace too.
01:12 So, there's a bit of a mental curve, but the character I always felt very close to.
01:16 What was really special about coming back this time, I think, was being able to have
01:19 more time with the character, more time with Dany, to kind of understand what his, I think,
01:25 interpretation of Shani would be and what he sees for her.
01:29 Being able to ask those questions, you know, even down to her hair, makeup, costumes, figuring
01:35 out what her identity was and how she moves through life.
01:41 And I think that those things are just as important.
01:44 I mean, I would always try to get Dany to let me change my hair up, but he was very
01:48 adamant that her hair stayed the same.
01:50 And I think it was the right choice and very smart because that's who she is.
01:53 She's got less time to worry about that and more time to focus on much bigger things at
01:58 hand.
01:58 So, it was really lovely to be able to come back and dig a little bit deeper into her
02:02 and get to know her more.
02:03 The looks of every character in Dune says a lot about who they are, where they come from,
02:08 and yours, of course, is hard to forget.
02:11 So, what do Fates' looks communicate to you in terms of understanding his specific kind
02:17 of evil?
02:18 That's a good question.
02:19 I think the sparseness, you know, when you're asking me this now, I'm thinking, "All right,
02:24 so I don't have hair.
02:26 I don't...
02:26 Very pale, you know, black teeth."
02:29 And then you think of the light on that, on Gatie Prime, on the planet.
02:34 We shot that on an infrared camera.
02:35 We, I mean, Dany and Greg Frazier shot that on an infrared camera.
02:39 And so, yeah, I guess the sparseness of it, the brutality that he grew up in.
02:46 I think for Paul, the threat Faye D'Aralto presents to the universe, but also to his
02:51 loved one and Shani, and the way he disparages her, or disparages Paul in regards to her
02:56 both during the fight, you know, sort of is like a wake-up call for him.
03:00 He feels so conflicted about a call to action that revolves around power and deification
03:06 in a way that Faye does not, that when he does see Faye and how power-hungry he is,
03:09 I think it's like, like I said, a wake-up call.
03:11 Very well said.
03:12 Yeah, thank you.
03:13 What we do, we do for the benefit of all.
03:15 I'd very much like to be equal to you.
03:19 Maybe I'll show you the way.
03:21 Dany's role in Paul's life gets different in the second film, especially maybe as a
03:31 much needed connection with the roots.
03:33 So how did you and Timothy work this different tone of this relationship this time?
03:39 I think it was more Dany working with Timothy and Dany working with me about the history.
03:44 Dany wanted it to be more organic, and I think that Timothy and I have our own relationship
03:49 that is somewhat similar.
03:51 In between Gurney and Paul, you know, I am older and he is a kid who kind of came on
03:58 to Dune 1 going like, "What is this?
04:01 What is this?"
04:02 And wide-eyed and very available and very vulnerable.
04:05 So I think when you end up doing a scene with Dany, I think he likes it to be as organic
04:11 as possible.
04:13 Casting is a very, very important moment.
04:16 One of the crucial moments of the film process.
04:18 You cannot make mistakes.
04:21 It comes from a lot of research, thinking, reflection, and in order to find the right
04:27 person for each character, there's no coincidences.
04:30 It was a long, long process.
04:32 Florence, you're now in a universe with women who are very powerful, but in very distinct
04:38 ways.
04:38 What is the greatest power you found in your character?
04:41 I agree with you.
04:42 I think that there are an unbelievable amount of very powerful, very intelligent women in
04:49 this storyline, and they definitely push their way to get what they want.
04:54 I think probably the most powerful thing about Irulan is that she keeps her cards close to
04:59 her chest and she is constantly, in her own mind, calculating a way to figure out how
05:07 to know more information, how to get to the top, how to keep power.
05:12 And she doesn't do that in a loud way.
05:13 She does that in a very, very quiet, almost scary way.
05:18 But that's what I like about her.
05:20 She's quietly listening.
05:21 Towards the ending of the film, in every scene, I was hoping it was not the last one because
05:27 I wanted to see more and more.
05:28 Well, that's true.
05:29 Got me thinking, how does it work to choose where and how to stop the story and leave
05:36 the rest for a future film?
05:38 For me, the ending of part two has always been like that.
05:42 It was very important to finish the movie this way.
05:44 I will not give any spoilers, but it's tremendously important to finish the movie in the way I
05:50 did it, in order to convey, to be faithful to Frank Herbert's idea of the tragedy he
05:57 wanted to express in the book.
05:59 And while you were developing the story, going back to the novel, was there some concept
06:06 or scene that got you like, okay, this is going to be especially complex to adapt?
06:11 When you write that a human being will jump on a giant sandworm and try to master it and
06:19 control it, you know that you're in trouble.
06:21 And you know that it's going to require weeks and weeks of thinking and R&D, research and
06:27 development, and that a team will suffer a lot.
06:30 It was very complex, yeah.
06:34 I hate Rother.
06:35 He's psychotic.
06:36 I was just thinking that both of you now have good experience with very musical characters.
06:49 So what would you think of a Dune musical, you know, Paul riding the sandworm and singing?
06:55 I think it'd be great.
06:55 I think Josh Brolin would have to do the lyrics.
06:57 Yeah, he would do the lyrics.
06:58 Maybe Hans would do the music.
07:00 We'd have to recast the entire thing.
07:03 Yeah, you'd have to get more musically inclined.
07:05 I wrote the lyrics for this song.
07:07 I wrote, Deni asked me to write the lyrics for this song, which when you write, which
07:11 I love writing, but suddenly when there's that pressure, you know, you can't come up
07:15 with anything.
07:16 Anyway, I was sending him stuff.
07:18 I was sending Hans stuff.
07:19 But yeah, we'll do a musical if you want to do a musical.
07:22 I imagine that being surrounded by that much sand has its particularities.
07:27 But what is the one thing about being on a set so important that you couldn't even imagine
07:33 before you, you know, you actually get there and see?
07:36 I mean, I think when you read the books, there's obviously a lot of magical sci-fi things to
07:45 the books.
07:46 And you're trying to understand what, you know, certain technologies and things will
07:50 look like.
07:50 Even like I remember thinking of the shield that they use and how that would be manifested
07:57 in our film and little things like that, that you kind of you think about in your head,
08:02 but they never could even live up to like walking on a set and seeing what the amazing
08:07 creatives who are behind this film have created.
08:10 And obviously there's reference in the book, but I think the imagination it takes also
08:16 to take the reference and then create something that's like literal in front of you and
08:22 tangible and something that you can you can touch is really, really impressive.
08:27 Walking onto these sets was was yeah, they're they're massive.
08:31 They're the scope is so big and the detail is so, so strong in color and depth and lighting
08:38 like everything.
08:39 So blows my mind that it can kind of be even better than what you might dream up in your
08:45 head when you're reading a script or a book.
08:47 But somehow they were able to do that, I think.
08:50 I want you to know I will love you as long as I breathe.
08:57 You will never lose me as long as you stay who you are.
09:02 One quick question because the desert mouse has a special meaning in this film.
09:08 So what animal would you choose to represent one another to become part of the grenades?
09:14 That's a good thing.
09:16 What animal would I get to represent you?
09:18 I don't know what animal I feel like you would be.
09:22 I'd want you to be like a long cat or something like a long like jungle cat.
09:27 Right?
09:28 I like that.
09:29 I feel like you would be like a beautiful, like colorful, like exotic bird.
09:35 Oh, I like that.
09:36 You know, that's great.
09:37 Change.
09:38 Yes, shape shift and stuff.
09:40 I don't think that even exists.
09:41 Yeah, but we can make it right here.
09:44 To be part of your name.
09:46 Yeah.
09:47 I feel like to one another.
09:48 Wow.
09:49 Austin, the lion butler.
09:52 Oh, I like that.
09:53 The lion or the lion heart.
09:56 I like that.
09:56 I like that for you.
09:58 Don't shade me.
09:59 No, no, no.
10:00 I'm thinking of something cool.
10:01 Like, what do you like a wolf?
10:03 I like that.
10:04 I would definitely take a wolf.
10:05 And well, since you got back to the role of Thanos more recently,
10:09 what if Thanos had to fight the Harkonnens?
10:13 Who is the biggest psychopath?
10:15 Who's the biggest psychopath between Harkonnens and Thanos?
10:19 I think Thanos.
10:20 I mean, I think Thanos would do away with doing like that.
10:23 It's incredible how the story of Dune not only remains up to date,
10:35 but it seems closer and closer to reality.
10:38 I don't know if it's ever going to get outdated.
10:41 So for this second part, especially, what felt more connected to reality to you?
10:47 It has to do with just human foibles,
10:49 and it has to do with us coming to terms with ourselves and our resilience and our resourcefulness.
10:57 And what I think ecologically, more than anything,
11:00 I think Frank Herbert was a very ecologically aware person.
11:04 And he says, if we don't take care of our planet in the way that we need to,
11:07 that we're going to be in massive dire straits later on.
11:11 And I think that that's proving to be true.
11:13 It's a good question.
11:24 I always try, I approach different genre,
11:27 try to tackle projects that are like, in my mind,
11:32 that are like explore different avenues that are very different from one to the other.
11:37 It's just, I will not be happy to try to repeat something over and over and over.
11:43 And that's why I think that it's the first time that I was going back in the same universe.
11:47 I tried to make a movie that would be as I respected the language of the first movie,
11:52 what we established, I tried to respect it.
11:54 But I tried to make, having this vocabulary,
11:57 I tried to make something very different, different rhythm and different approach.
12:02 I really tried to make a movie that would have his own identity,
12:06 in order to not to repeat myself.
12:08 I hope I didn't fuck it up, Frank.
12:17 I would have asked him if I was right with my intuition,
12:23 trying to make sure that I was, that I respect his initial intention
12:27 with doing a cautionary tale.
12:32 And it's not a celebration, it's a warning.
12:35 This prophecy is how they enslave us.
12:40 Daddy!
12:44 You are not prepared for what is to come.