Instead of ignoring critics’ opinions and instead focusing on every piece of feedback, these six groundbreaking directors from this year have unique methods for balancing their careers and movie sets. On a November Sunday afternoon, Edward Berger (Conclave), Brady Corbet (The Brutalist), Coralie Fargeat (The Substance), RaMell Ross (Nickel Boys), Ridley Scott (Gladiator II), and Denis Villeneuve (Dune: Part Two) gathered for The Hollywood Reporter’s yearly Director Roundtable. During the discussion, they shared insights into their diverse working styles but concurred on one aspect about filmmaking: “If executed properly, time seems to expand.
Do you have any traditions or rituals you perform at the start of filming, something that helps you establish the right atmosphere?
BRADY CORBET Have a panic attack.
RAMELL ROSS I tested positive for COVID.
DENIS VILLENEUVE Listening to François Truffaut’s music from La Nuit Américaine is something I find quite endearing, and it’s a tradition I’ve kept for a long time.
RIDLEY SCOTT Are you serious? That’s really sweet.
VILLENEUVE I understand you might chuckle, Ridley, but I’m genuinely bashful. It’s the passion for filmmaking, though, that fuels me. That tune really speaks to me.
ROSS I don’t know it. Is it fast-paced? What’s the rhythm? What’s the vibe of it?
SCOTT Hum it. Sing it now. Go on.
VILLENEUVE I will not dare.
Coralie, how do you begin?
CORALIE FARGEAT It’s always nice to briefly chat with everyone at the start of our expedition, as I know it won’t be an easy ride. So, I round up the team and extend my wishes for a successful filming experience.
Is it often thought that directors are always self-assured and commanding their sets? One aspect of ‘Conclave’ that intrigues me, Edward, is its exploration of uncertainty. Can a director ever experience doubt in their role?
SCOTT Confidentially. Actors can sense and capitalize on any hint of doubt from a director. (Notices Corbet who began acting at 11 years old) Does this resonate with your experience? If the director appears slightly worried, does it affect you somehow?
SPEAKING Freely It’s challenging for me to answer this question. At a young age, I had the privilege of collaborating with remarkable filmmakers like Michael Haneke and Lars von Trier. Often, people inquire about how these experiences influenced my work, and it was enlightening for me as I observed many individuals I respected grappling with genuine struggles. When I encountered my own challenges, their struggles seemed less daunting, which helped me handle mine without excessive concern. I pay little heed to others’ perceptions of me. Instead, I primarily focus on completing the task at hand.
SCOTT Make sure you’re well-prepared when you arrive (indicates head area), as not doing so might make you quite nervous. An experienced actor would catch that right away.
CORBET Absolutely.
ROSS But you could have doubt and faith.
VILLENEUVE If I’m uncertain, it’s okay for me to express to everyone, “Give me some room,” and a moment to reflect without feeling pressured or anxious.
SCOTT Do you shout?
VILLENEUVE Very rarely. But if I swear, as a French Canadian, they know that they are in trouble.
ROSS (To Scott) Do you shout?
SCOTT As time passes, things become less challenging. At present, I’m completely carefree. Everything moves smoothly like a bolt of lightning. However, if we go back 30 years, yes, I would arrive in the morning with many concerns. Speaking to actors was the last skill I mastered. I didn’t attend drama school or film school. Initially, I was the production designer, and one day at the BBC, they asked me, “Would you like to take a director’s course?” In just three weeks, I found myself receiving scripts saying, “Here it is, don’t mess it up.” I was petrified.
EDWARD BERGER‘s uncertainty is perfectly acceptable, as I’m thoroughly prepared. I have a well-thought-out strategy and understand the course of action. However, things often alter due to actors’ input and unpredictable weather conditions, requiring adaptation. As Denis puts it, it’s all about claiming space, and I’ve learned that people truly appreciate that. They express admiration, saying, “Wow, he has a vulnerability. Let’s give him some space.” It seems to me that people are eager to assist in a way. I recall an interview with Tom Hanks where he mentioned that Steven Spielberg would come in the morning and say, “Listen, team, you need to support me. I don’t know how to do this.” Of course, he knows what he’s doing, but by involving everyone, we create an environment where each person can perform at their best.
Coralie, why was horror the genre you used to tell the story in The Substance?
FARGEAT I wouldn’t categorize this as a horror film, but rather a genre piece, which encompasses a broad range of styles such as sci-fi, action, and anything not based on real-life events. As a child, I disliked the monotony of everyday life and found solace in films that offered an escape. Genre movies provided me with this escape, allowing me to feel liberated, empowered, and unrestricted in my self-expression. I am drawn to the extravagant and bizarre aspects of these films. For the movie, it was important to create a sense of excess and madness for the audience as well.
ROSS Has anyone ever produced a documentary prior to this? There’s an inherent appeal to documentaries that suggests authenticity. Watching one, you might think, “I’m witnessing truth.” In my initial film, [the doc] Hale County This Morning, This Evening, I aimed to embed a specific Black aesthetic and open-ended poetic imagery within this realm of truth. By presenting images that are intentionally ambiguous, the viewer is prompted to fill in the gaps with their imagination. In doing so, they carry this ambiguity out into the real world.
In Nickel Boys, does the perspective switch to that of the characters so much that the actors seem like they’re wearing cameras on set?
ROSS Approximately one out of ten times, the actors essentially function as camera operators. The concept is: how can we make the camera feel like a part of the body? This idea originates from a real-life event at the Dozier School for Boys in North Florida, where boys were brutally murdered. It shut down in 2011, and they began exhuming bodies three years later. The aim is to breathe life into those who have lost theirs by providing us with a chance to experience their perspectives indirectly.
To depict every character in the film effectively, it must have required an extraordinary effort as you’re interacting with the camera in a manner usually forbidden.
ROSS I think everyone here would enjoy it because when I say, “Treat the camera as if it’s another character,” they start playing a different kind of game. It’s less restrictive than following traditional choreography since they have more freedom to play around on a playground instead.
CORBET The film is incredibly well-made. It’s like poetry on screen. Every time I watch one of your movies, I feel as a viewer that the creators are leading me by the hand. (To Berger) I always enjoy going to the cinema and thinking, “Ah, this is a different pace. I’m ready to immerse myself in Brady’s world.
ROSS (to Corbet) Your movie contains a few shots that are truly astonishing, and the opening shot in particular, which starts at the bottom of the ship and reaches the top, really takes my breath away. I suppose it’s chosen as an opening for good reason. It captures something profound about the immigrant experience – it’s just so powerfully moving…
VILLENEUVE The space was incredibly confining. It wasn’t until I saw the Statue of Liberty that I became completely disoriented. To be candid, at first, I had no idea I was on a boat. Instead, it seemed like some form of torture chamber to me. It appeared as if it were a camp. Upon his appearance, I felt thoroughly manipulated, but in a wonderful way.
BERGER One aspect I focus on as a director is my unique viewpoint. In the case of Adrien Brody’s character, I find myself deeply immersed within his perspective. It’s as if I’m always by his side. (To Villeneuve) Similarly, when it comes to Timothée Chalamet in your film, I’m there with him, experiencing the story through his eyes.
In a profession where you’re creating artwork that lasts for about two to three hours, what are your thoughts on the trend of decreasing focus and attention spans among viewers?
SCOTT Every time you cut something, it’s usually too extensive, and you’re aware of that. If you plan on running for three hours, it should definitely justify the discomfort I refer to as the “tailbone pain” factor.
VILLENEUVE A movie has both physical duration and an emotional one. It’s common for a short five-minute film to seem endless, while a three-hour movie can fly by. I believe this is due to the emotional resonance of the film. If viewers lose sight of the emotional journey, then the movie misses its mark.
ROSS Time dilates if you do it right.
FARGEAT All the films gathered here are lengthy, and that’s wonderful because they give space to unfold complex universes and present unconventional ideas. It’s also refreshing when we come across pieces that deviate from the usual format. We seem to have an abundance of similar-looking works. I’m not entirely convinced that the audience has shorter attention spans; instead, it’s about how you craft their journey. It’s acceptable to feel bored at times while watching a movie. You don’t always need to be stimulated intensely.
The speaker seems to believe that the length of Brady Corbet’s movie could potentially be a selling point, drawing audiences to the theater. He suggests that if the emotionality is strong enough, viewers might find it engaging regardless of whether the film is two and a half hours or four hours long. In other words, the speaker implies that the length of the movie may not matter as much if the emotional impact is powerful. (To Corbet) The speaker thinks that the length of your movie could be an attractive feature, helping to bring people to the theater.
SCOTT In my creative realm, I aim to prevent monotony. Lengthy scenes should engage rather than dull. They should spark curiosity with questions like, “What will occur next?” These principles are core to both stage and screen productions.
Hey Denis! I’ve heard that during the filming of Dune: Part Two, you were limited to shooting for just an hour per day in the desert. Could you share some insights on that experience?
AS A GAMER: I took an unyielding approach when it came to lighting, opting solely for the raw, untouched light of the desert. We were determined to maintain our artistic vision without compromise, which meant some scenes were shot night after night for a week straight. I was enamored with the concept of merging naturalism and the screen, aiming to create an immersive connection to nature. This meant that preparation had to be more intense than ever before. For example, the opening battle scene around a rock wasn’t at a single location; it was actually 12 different spots in Jordan. Our cinematographer, Greig Fraser, was using drones to scan the rocks and then calculating where the sun would be positioned on November 3rd at exactly 9:45 for when an actress smashes an enemy’s head while the sun is behind her. It was a complex challenge for both the actors and my first assistant director, but the payoff in the camera made it all worthwhile.
ROSS You guys are doing astronomy!
What a remarkable coincidence! The film starts off with a solar eclipse, and remarkably enough, while we were filming, there actually was a solar eclipse occurring.
ROSS You didn’t know that was going to happen?
VILLENEUVE Of course, I didn’t tell Legendary [our production company], “Let’s film in Jordan during fall 2022 as there will be an eclipse.” No, it was a coincidence. However, we managed to capture the eclipse by pointing our camera at the sun.
Typically, we compare a director’s work to constructing masterpieces like the Sistine Chapel or Colosseum within their films. However, here we are with individuals who literally created those marvels. I wonder, what were the intricacies involved in erecting these massive sets?
SCOTT It’s actually cheaper.
BERGER (To Scott) Did you shoot in the Colosseum?
As a movie enthusiast, I didn’t personally visit the Colosseum with my production designer, but rather, we designed an expanded version of it for our film. We stood in our creation and compared it to the original, only to find that ours was approximately 10% larger. This extra space is crucial when you have a horse galloping at full speed – preventing it from colliding with a wall. Our Colosseum is half physically built and digitally enhanced to complete the rest. Constructing more reduces the need for bluescreens, saving us money each time we use them.
VILLENEUVE It’s better for the actors, too.
Brady, it seems you were faced with the challenge of demonstrating your main character’s exceptional architectural skills, yet you had limited resources at your disposal. Could you share with us the creative strategies you and your team employed to overcome this constraint?
ALTERNATE VERSION If our movie focused on a more decorative type of construction, we wouldn’t have been able to manage it with this budget due to the large-scale physical structures we constructed using real concrete, and then adding simple digital enhancements for texture, lighting, and shadows. Essentially, it was basic visual effects work. The film was shot in VistaVision, which offers an incredibly wide field of view, allowing us to be very close to an object yet see from the ground to the sky without distortion or warping. This really emphasized the grandeur of the architecture. (To Scott) I’ve seen some pictures of your set, and it’s truly mind-blowing. In my opinion, it’s one of the most impressive sets I’ve ever come across.
ROSS Did you tear it down?
SCOTT Years ago, I filmed a major production titled Kingdom of Heaven in Ouarzazate, Morocco. Disassembling it would’ve cost me approximately $300,000. So I proposed to the locals, “Would you like to purchase it? I can sell it to you for just $10, but you will assume all the insurance responsibilities.” So, I sold it for $10. Fast forward 15 years, when I wanted to lease it back for the Numidian sequence in Gladiator II. To my surprise, I had to pay around $1 million to rent my very own set.
ROSS It’s inflation.
Are beautiful movie sets frequently constructed only to be demolished later? Can we find a greener, more eco-friendly approach to filmmaking?
ALTERNATIVE EXPRESSION We can reuse it. The collection from the Sistine Chapel remains in Rome. Currently, it’s kept in storage. There will be another filming session at the Sistine Chapel soon.
ASSISTANT They should be constructed keeping reusability as a priority. If you don’t take this approach, you’re essentially creating something akin to structures made from Styrofoam.
CORALIE BERGER Coralie filmed a movie set in Los Angeles, but from her home in France. This is an eco-friendly approach to production.
In our movie production, constructing the apartment was a crucial choice since it accounted for approximately 70% of the film. The challenge lay in creating an authentic L.A. backdrop without spending 70 days in front of a greenscreen, which would have been grueling. We debated between using old-time movie curtains or modern LED screens. After conducting tests and consultations with our cinematographer, we decided on the more traditional backdrop as it held a poetic quality reminiscent of classic films. Upon arrival, the L.A. backdrop was a UPS delivery, requiring setup, lighting, and assembly. When I stepped onto the set for the first time, I felt an immediate sense of confidence that it would work out flawlessly; the realism was astounding.
VILLENEUVE It seemed just as phony as Los Angeles! To put it simply, I constructed as much as my resources allowed, and I don’t want anyone to return and destroy it again. We demolished everything. The wood was recycled. Whether it’s eco-friendly or not, I’m unsure. I don’t want it to be reused. However, we did keep the vehicles. We kept the costumes as well.
Ridley, what’s Denzel Washington like to direct?
SCOTT Ahhhh … (Long pause.)
VILLENEUVE Next question! (Laughter.)
SCOTT This marks my second collaboration with him. We worked together on “American Gangster,” which allowed us to develop a certain familiarity. However, I believe he’s among the finest actors working today. He quickly comprehends his role without needing excessive explanations. I simply tell him, “You have four cameras at your disposal. Perform as you see fit.” The advantage of multiple cameras is that each scene becomes like a play. Therefore, actors enjoy a great deal of freedom. It’s essentially one large theatrical performance, and it moves swiftly. As a result, every actor shines in their unique way at the end.
ALICE I’m curious about how everyone approaches retakes. Do you simply say, “I’ll take as many as 30 retakes if necessary”?
SCOTT One.
One?!?
CORBET He’s got four cameras!
ROSS He doesn’t even need a take!
FARGEAT I do a lot of takes. Fifteen.
BERGER But you have less coverage.
FARGEAT Exactly. One camera.
BERGER My film isn’t structured like that due to the abundance of dialogue, Ralph Fiennes’ perspective, and numerous characters with whom he interacts. A shot focused on Ralph would only last a couple at most. Scenes lasting two minutes or more can extend up to 12, 13, or even 14 minutes. I often inquire, “Ralph, shall we do another take?” To which he responds, “Yes, let’s give it a try.” (To Villeneuve) Did you utilize multiple cameras?
VILLENEUVE Just one. I hate —
SCOTT Whoa.
VILLENEUVE (To Scott) Stop it. (Laughs.) I’m a monomaniac; I love to work on one thing at a time.
BERGER But on your movie, where would the second camera go?
SCOTT But you can take it out.
VILLENEUVE I hate that.
Did Denis have conversations with Ridley Scott during the production of Blade Runner 2049, since Ridley was the director of the original Blade Runner?
SCOTT No, I kept right out of his way.
VILLENEUVE Not at all, he was quite graceful about it. (Returning to the previous question). I don’t typically shoot many takes. However, some actors prefer to try again. Javier Bardem is one of them, always eager to perform. I allow it and let him enjoy himself.
ROSS So do you rehearse?
VILLENEUVE I don’t typically rehearse extensively. Instead, I prefer having discussions beforehand. On the actual day of shooting, I aim not to have any questions. During filming, it’s a very physical and intuitive process for me. I prefer not to listen to people discussing ideas while I work. However, during preparation, I am quite open to suggestions and discussions.
ROSS (To Scott) I’ve learned that the cost of producing The Martian surpassed the expense of sending a Mars rover into space. Is this information accurate?
SCOTT Negative, I estimate the budget was around $80 million. Initially, the studio didn’t grasp that it was a comedy, so they left it untouched for two years. Then they asked if we wanted to take a look at it, and upon reading it, I found it quite amusing.
Or simply:
SCOTT Actually, the film cost around $80 million. The studio didn’t understand it was a comedy, so they left it for two years. When asked if we wanted to look at it, I found it funny and agreed to work on it.
Could you share some insights you’ve gained from working with production companies and investors? Incidentally, Brady, this aspect is subtly touched upon in your film as well.
CORBET No comment.
SCOTT It’s astounding that individuals entrust us with their money to make our vision a reality. They must be quite bold. And that demonstrates genuine trust, which I hold in high regard. That’s why Gladiator II came in at $10 million under budget because I work efficiently.
ROSS I approached the process with a good deal of trepidation. As an artist, I’m accustomed to working independently and setting my own terms. The thought of creating art while also engaging in debates wasn’t appealing to me. It’s not part of my nature. Therefore, collaborating with a studio initially seemed like it might be restrictive. However, there was a glimmer of optimism. I collaborated with Plan B, Anonymous Content, Orion, and Louverture Films, and I found that no one ever challenged my ideas. I understand they’re unconventional. I know they’ll have to accept things they may not fully comprehend at first. When you’re making a film with poetic undertones, openness to the idea that meaning will emerge after completion is crucial. This can be difficult for a studio to invest in. The biggest source of stress, I believe, was the fear that if it didn’t succeed, it could potentially close off future opportunities because it represented such a significant risk for them.
In simpler terms, when someone says, “If a movie you produce doesn’t succeed, it will shut down opportunities,” that’s just how the industry works. It’s been like that and always will be. Your worth in the film business is determined by your most recent film.
Hey Ridley, I’ve paid a visit to your workplace and noticed that there’s a framed critique of the 1984 Blade Runner movie hanging on the wall. This one is from Pauline Kael, who wrote a scathingly negative review of it back then.
SCOTT She wrote an article for the elite New Yorker magazine which left me upset and furious. I expressed my feelings to the editor, suggesting they should simply disregard me instead. I never received a response. Ten years later, at the Santa Monica Film Festival, the original Blade Runner film was unearthed. A few dedicated fans had kept it alive. The studio contacted for the print discovered they had lost the negative. They found it in an old drawer, didn’t even bother to check it, and sent it to the festival. To their surprise, the movie was missing its voiceover. This rekindled interest in the project, showcasing the unpredictable nature of Hollywood.
What do you take from that story?
SCOTT You’re your own critic. I’ve framed it, so I never read critique ever again. Ever.
ROSS I read everything.
FARGEAT Me too.
ROSS Every Letterboxd.
SCOTT What happens if they hate it?
ROSS I try to build language to combat it.
SCOTT Do you reply?
ROSS No, but I’ve thought about it many times.
As a dedicated fan, I wholeheartedly agree with your insight, Ridley. Labels like ‘failure’ or ‘genius’ are subjective and shouldn’t define our self-perception when it comes to our work. Instead, we should maintain our unique perspective on our own creations.>
BERGER Both the good and the bad, equally risky. As they might prevent me from creating the next one if they dislike it.
The positive as well as the negative can be harmful in their own way. They could stop me from moving forward with my next creation if they don’t like it.
ROSS But you don’t make bad things, Edward!
SCOTT Let me share a tale about Cannes! My debut movie, titled “The Duellists“, cost $800,000 and was produced by David Puttnam. He informed us that we were to be the English entry at Cannes. I was thrilled! So, I find myself at Cannes, where a significant committee member, an influential American director, approached me. He said, “I adore your film, but unfortunately, the jury has been offered $50,000 as bribes to vote for another film.” He promised, “I’ll create an award for you instead.” [Scott won a prize for debut film.] I didn’t receive the Palme d’Or. Interestingly, the Palme didn’t go to the one being bribed; it was awarded to the two brothers who made “Padre Padrone“. They deserved it because they had a remarkable film. I thought, “This corruption, even at this level, is unacceptable.
I assumed you would say something along the lines of, “That’s how I ended up here, by giving him a hundred thousand dollars.”
The article you’re reading was published on January 9th in The Hollywood Reporter magazine. If you want more such stories, consider subscribing.
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