they re meant to challenge you in the beginning. they re not keyhole psychological dramas. they are participatory cinematic works. and i think the energy of the movies comes from baz s energy and his infectious storytelling - and the fact that as a collaborator, you feel so privileged to be part of the journey. - and he takes such care - to include me, but everybody from mandy to, you know, the grip, the dolly grip, i . whoever it is, we all feel part . of an energised, bigger company. the directive that baz gave me really super early the directive on when we were talking about script is that the camera has to dance with elvis, and it has to fly when he flies. and then when the drama gets heavy and emotional, that we would be
but they re designed like that. they re engagement films. they re meant to say, come with us on the ride. they re meant to challenge you in the beginning. they re not keyhole psychological dramas. they are participatory cinematic works. and i think the energy of the movies comes from baz s energy and his infectious storytelling - and the fact that as a collaborator, you feel so privileged to be part of the journey. - and he takes such care - to include me, but everybody from mandy to, you know, the grip, the dolly grip, i . whoever it is, we all feel part . of an energised, bigger company. l the directive that gave me really. super early on when we were talking the directive that baz - gave me really super early on when we were talking - about script is that the camera has to dance with elvis,
it s different to anything else. how do you do that? well, my energy might be, you know, slightly dribbling away as the years go on. but they re designed like that. they re engagement films. they re meant to say, come with us on the ride. they re meant to challenge you in the beginning. they re not keyhole psychological dramas. they are participatory cinematic works. and i think the energy of the movies comes from baz s energy how does it feel? it feels like a dream. you know, i m trying to. i m trying to take snapshots in my mind and really remember these moments. the newness of all this will never happen again. so i really want to remember it. there s so much buzz around this whole, this part of the industry. and i m used tojust being the guy who s, you know, you can sort of hide behind a character. so there s a lot of talking about yourself. cheering
all your films have such energy. like, i remember the first time i watched moulin rouge. it kind of slaps you in the face. it s different to anything else. how do you do that? well, my energy might be, you know, slightly dribbling away as the years go on. but they re designed like that. they re engagement films. they re meant to say, come with us on the ride. they re meant to challenge you in the beginning. they re not keyhole psychological dramas. they are participatory cinematic works. and i think the energy of the movies comes from baz s energy and his infectious storytelling - and the fact that as a collaborator, you feel so privileged to be part of the journey. - and he takes such care - to include me, but everybody from mandy to, you know, the grip, the dolly grip, i . whoever it is, we all feel part . of an energised, bigger company.
the directive that baz gave me really super early on when we were talking about script is that the camera has to dance with elvis, and it has to fly when he flies. and then when the drama gets heavy and emotional that we would be elegant and observational. i need to get back to who i really am. how does it feel? it feels like a dream. you know, i m trying to. i m trying to take snapshots in my mind and really remember these moments. the newness of all this will never happen again. so i really want to remember it. there s so much buzz around this whole, this part of the industry. and i m used tojust being the guy who s, you know, you can sort of hide behind a character. so there s a lot of talking about yourself. cheering