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David Mackenzie's Fuze Puts You In The Center Of The Unexpected · Arroe Collins Like It's Live

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  Speaker 1: Arrow dot net. It's more than just one podcast. It
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  Speaker 1: is a collection of podcasts, twenty different podcasts. Because that's
• 0:08
  Speaker 1: just the way I am. When I sit in the
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  Speaker 1: car or I'm at the office, I don't want to
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  Speaker 1: hear the same twenty four hour newsreel. So I've got
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  Speaker 1: to go someplace that gives me a great choice, someplace
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  Speaker 1: that I depend on. Aro dot net, a r r
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  Speaker 1: oe dot net check out beyond the calling the men
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  Speaker 1: and women who have served this nation and the history
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  Speaker 1: of all wars this nation has been in. It is
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  Speaker 1: giving those who fought for our freedom a voice today
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  Speaker 1: beyond the calling, only on arow dot net, rr oe
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  Speaker 1: dot net. Enjoy your exploration, David, I have experienced fews.
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  Speaker 1: Oh my god, Oh my god, dude. You really know
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  Speaker 1: how to bring so many different paths and lifestyles that
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  Speaker 1: are taking place in front of you and bring them
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  Speaker 1: together as one unbelievable experience.
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  Speaker 2: That's very kind of the hour. Thank you. Sort of.
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  Speaker 3: The intention of this film was to try and sort
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  Speaker 3: of fuse together.
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  Speaker 2: Unexpected bomb kind of tension and.
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  Speaker 3: All the excitement of a of a heist movie and
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  Speaker 3: see if you can make something that's kind of that
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  Speaker 3: that's really really moving fast and got a real ride
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  Speaker 3: to it that just really doesn't let you up at
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  Speaker 3: any moment. And you know, you know, and it's only
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  Speaker 3: like ninety one minutes long, so it's a kind of
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  Speaker 3: short blast. So hopefully, hopefully it's going to be something
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  Speaker 3: that the audiences can really get it get into.
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  Speaker 1: I love the fact that you called it a short blast,
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  Speaker 1: because I mean, the impact is still with me even today.
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  Speaker 1: I mean, it's a hell of a blast, is what
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  Speaker 1: it is. And even though it might be short, I
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  Speaker 1: mean I would love to know what your heart rate
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  Speaker 1: was going through. You're the dude that was behind the
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  Speaker 1: lens of the camera. I mean, it's like, oh my god,
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  Speaker 1: what did you feel, David?
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  Speaker 3: Well, we were just trying to keep it moving the
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  Speaker 3: whole time, and the idea have a sort of kinetic
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  Speaker 3: quality to it. Uh you know, obviously you know it's
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  Speaker 3: not it wasn't ninety one minutes of the making. But
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  Speaker 3: but but you know, all the time, in my direction, photography,
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  Speaker 3: the actors, myself, the editor and everyone else, we're always trying.
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  Speaker 2: To just keep keep keep the energy up as much
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  Speaker 2: as we could.
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  Speaker 1: The heist is going down, the planning out that took
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  Speaker 1: place in was required for this to happen, and your
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  Speaker 1: cameras step in there, and oh the intensity of every
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  Speaker 1: scene because you place that camera in the right position,
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  Speaker 1: which activated our imaginations of what would I do if
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  Speaker 1: this was me?
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  Speaker 3: Yeah, well, thank you, that's that's not really I seem
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  Speaker 3: thing to say, Yeah, it's it's It's funny because when
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  Speaker 3: you're only at that target of being, you know, of
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  Speaker 3: creating tension, you're you're looking looking for those opportunities all
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  Speaker 3: the time, and so every every scene is not really
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  Speaker 3: a conventional scene. There's there's no proper conventional dialogue scenes
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  Speaker 3: really in there a tour or if they are, they're
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  Speaker 3: very very short, and the rest of it's all action
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  Speaker 3: and and you know, tension and build up and.
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  Speaker 2: Movement.
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  Speaker 1: And you know what's so interesting about this is that
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  Speaker 1: so many times over the years, we've always heard of
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  Speaker 1: these stories or they've appeared in the newspaper or unseeing
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  Speaker 1: it and we're going, okay, it was it was in
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  Speaker 1: the ground time, you know, it was burying stuff. This
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  Speaker 1: this thing that's in the ground has a purpose in
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  Speaker 1: a plan, and somebody's using it, and all of a
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  Speaker 1: sudden it becomes this big part of a major story
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  Speaker 1: that's unfolding.
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  Speaker 2: Yeah, I mean it's very interesting because he did.
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  Speaker 3: I mean, certainly in the UK you do see in
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  Speaker 3: the news all the time about unexploded bombs being discovered
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  Speaker 3: on construction sites.
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  Speaker 2: In Paris.
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  Speaker 3: Four days ago, they found one and they had to
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  Speaker 3: evacuate you know, a busy part of the central Paris.
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  Speaker 2: So it happens all the time.
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  Speaker 3: So it was kind of part of my original idea
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  Speaker 3: was just to see what happens if you if you
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  Speaker 3: can imagine something like that has been known about it
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  Speaker 3: enough to be able to make a plan to do
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  Speaker 3: something without evacuation. But you know what the story is
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  Speaker 3: kind of about.
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  Speaker 1: What's really interesting about this is the fact that, you know,
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  Speaker 1: I was reading an article recently about you know, bombs
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  Speaker 1: that are buried and people lose them throughout history. But
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  Speaker 1: somebody actually said in this article, what do Americans know
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  Speaker 1: about this? They've never had really war like this like
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  Speaker 1: they do in England, the UK and in other parts
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  Speaker 1: of the nation. And yet I was so drawn to
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  Speaker 1: this story like it's in my own backyard.
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  Speaker 2: Dude. Wow, that's cool. But it's interesting because it hasn't
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  Speaker 2: happened in America. It's interesting.
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  Speaker 3: I had an interview recently with someone who was based
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  Speaker 3: in Nebraska and they said that some wobbleto ordnance was
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  Speaker 3: discovered and they had to do something similar there. But
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  Speaker 3: obviously it is different for the American contact. It's a
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  Speaker 3: film set in London. I went to college in London,
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  Speaker 3: but I've never.
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  Speaker 2: Made a film that.
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  Speaker 3: It's my twelfth film, and so it was kind of
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  Speaker 3: cool to go to London and try and sort of
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  Speaker 3: bring that place into you know, to feel alive and
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  Speaker 3: you know, and hopefully that's something that's exciting to an
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  Speaker 3: American audience as well, to sort of see modern London
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  Speaker 3: in a in an interesting and dynamic way.
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  Speaker 1: Yeah, because I mean this this really I think one
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  Speaker 1: of my connections to this movie, and why I really
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  Speaker 1: have held on to this movie is because I was
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  Speaker 1: talking with the sex Pistols and and and they told me,
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  Speaker 1: they go, this is not music that you think is
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  Speaker 1: punk music. We live through hell over here with these
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  Speaker 1: wars you don't know, and I and and ever since then,
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  Speaker 1: I've kept my eyes open on stories like this, like
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  Speaker 1: this buried bomb and and and because because I don't know,
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  Speaker 1: and you're educating me as well as my god putting
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  Speaker 1: my my my anxiety on high to watch something like this.
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  Speaker 2: Well said, yeah, it is interesting.
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  Speaker 3: You know, it's obviously it's a British movie with British
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  Speaker 3: actors on Australian Sam and Sam Worthington. But I sort
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  Speaker 3: of feel like it should it should be appealing to
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  Speaker 3: an American audience as well, because its folds at at
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  Speaker 3: a great pace and and and.
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  Speaker 2: You know, there's a couple of loss, and there's some
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  Speaker 2: goss and.
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  Speaker 3: A and and and and you know, it moves along
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  Speaker 3: at a the heck of a pace and it's entertaining.
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  Speaker 1: I would love to be that guy outside of a
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  Speaker 1: movie theater when the movie is over and people start
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  Speaker 1: coming out, I just want to watch them. I want
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  Speaker 1: to hear them, because I mean, they're gonna come out
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  Speaker 1: and they're gonna they're going to express it, and they're
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  Speaker 1: probably gonna be trying to catch their breath because you
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  Speaker 1: have twists in here. I mean, this is this is
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  Speaker 1: like real hardcore Hollywood twist that people carry with them
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  Speaker 1: for decades.
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  Speaker 4: Beyond this, you're.
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  Speaker 3: Saying all the right things, man, I like it, but yeah,
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  Speaker 3: that's I mean, the intention was, you.
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  Speaker 2: Know, you know, I'm an old hand of this now.
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  Speaker 3: Was was to try and you try and make something
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  Speaker 3: that that that you can play in the theater, that's
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  Speaker 3: a that's a communal experience and and and that people
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  Speaker 3: will will enjoy and have a have a cool time.
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  Speaker 2: You know. That's that's saying. That was the idea.
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  Speaker 1: Now is it my imagining? And because I I guess
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  Speaker 1: it's because I believe in numerology. I kept hearing the
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  Speaker 1: number ten throughout this story. What's up with that number
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  Speaker 1: ten in the writing of this?
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  Speaker 2: Wow, that's very interesting.
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  Speaker 3: I I if that's the case, it's completely not deliberate.
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  Speaker 2: It wouldn't have been. I would have noticed it if
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  Speaker 2: it was in benscript.
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  Speaker 3: We did a lot of improvising and we have evolved
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  Speaker 3: the script a lot with with with the army disposal,
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  Speaker 3: the bomb disposal guys and all the all the getting
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  Speaker 3: all the protocols. I did not put that in there.
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  Speaker 3: So that's one of those happy accidents. But yeah, let
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  Speaker 3: let me know if where it leads you on the
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  Speaker 3: on the numerology.
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  Speaker 2: Path.
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  Speaker 1: Absolutely, I tell you what, I'm jealous of the entire
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  Speaker 1: team that was inside that room when you were really
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  Speaker 1: building up the people that were going to be doing
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  Speaker 1: the hest because the way that you dimly lit that
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  Speaker 1: room and then you bring back the cameras and it
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  Speaker 1: shows the silhouette. I mean as a viewer, that's what
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  Speaker 1: I want to ex experience. I want to be like,
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  Speaker 1: I can't identify you. That's the mystery of it all.
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  Speaker 1: And then the conflict is when things start really starting
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  Speaker 1: to happen and for you to be there to design
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  Speaker 1: this was just amazing.
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  Speaker 3: Well it's interesting because yeah, you want the characters to
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  Speaker 3: you know, and they're all wearing kind of you know,
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  Speaker 3: generic uniforms, you know.
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  Speaker 2: Boiler suits, so you don't you don't don't really know
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  Speaker 2: who they are.
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  Speaker 3: And the way we lit it was was was you know,
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  Speaker 3: flash lights and work lights, so it was very kind
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  Speaker 3: of organic, and they moved in and turned them on.
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  Speaker 3: Uh so you know, they they created their own lighting. Obviously,
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  Speaker 3: Jarles my DP you know, was keen to say better
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  Speaker 3: put it there, better put it there. But but the
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  Speaker 3: effectively the characters created that that lighting and that and
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  Speaker 3: there's something that that makes it feel real and tangible
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  Speaker 3: that I really like. And as a filmmaker, I'm always
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  Speaker 3: trying to kind of make things as close to reality
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  Speaker 3: as I possibly can.
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  Speaker 2: Obviously, you know it's make believe in fiction.
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  Speaker 3: But but but but we leant into the realities of
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  Speaker 3: the Copper and the army protocols and you know, really
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  Speaker 3: really kind of you know, explored stuff with the advisors
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  Speaker 3: and change things where they.
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  Speaker 2: Said that things things were inaccurate. So we're we're trying
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  Speaker 2: to take you into that world as closely as we can.
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  Speaker 1: Please do not move. There's more with David mackenzie coming
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  Speaker 1: up next. The name of the movie, and let me
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  Speaker 1: put in there. It is quite the experience. It's called Fuse.
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  Speaker 1: We are back with David McKenzie. Even as a movie maker,
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  Speaker 1: it's still the movie business in the business side. A
• 9:31
  Speaker 1: lot of viewers don't understand how did you even get
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  Speaker 1: that much time on the streets to be able to
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  Speaker 1: even film this movie, because I mean, did you shut
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  Speaker 1: this down for a couple of days? I mean, how
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  Speaker 1: did you even do this?
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  Speaker 2: It was complicated, it was definitely.
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  Speaker 3: You know, now part of London you need you need
• 9:48
  Speaker 3: to get a briber permit, which it takes three months
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  Speaker 3: to do. And then the big row that we shut
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  Speaker 3: down was a place called Eduo Road, which is you know,
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  Speaker 3: very close to central London or in central and you
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  Speaker 3: know that required us to We were allowed to shut
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  Speaker 3: the duck down for three minutes every fifteen minutes early
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  Speaker 3: on a Sunday morning.
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  Speaker 5: So three minutes, we get the three minutes and then
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  Speaker 5: we you know, the police roadblock it.
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  Speaker 3: We clear everyone out and quickly, and then and then
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  Speaker 3: immediately you have to you know, let the traffic go again.
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  Speaker 2: So it was it was a logistical piece of engineering really.
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  Speaker 1: So in reality was it pretty much like doing an
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  Speaker 1: indie film. You had to do speed. You have people
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  Speaker 1: that came from maybe live theater that have to understand
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  Speaker 1: improv and adverbs and things like that in the way
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  Speaker 1: of get to the point, get to it right now,
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  Speaker 1: and and and say the fewest amount of things so
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  Speaker 1: that you can get it in that fifteen minutes.
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  Speaker 3: Well, I mean the three minutes, not fifteen minutes, but yes,
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  Speaker 3: I mean it was three minutes every fifteen minutes, and
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  Speaker 3: so we were so tightly organized. It wasn't really improv
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  Speaker 3: But generally the way that I work as a film
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  Speaker 3: director is like, let a lot of improv go in
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  Speaker 3: in the scene and we don't I keep the cameras running,
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  Speaker 3: and the actors really don't know when we're on and off,
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  Speaker 3: and I really try and make the whole thing almost
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  Speaker 3: feel like a live event. So that's but that's really
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  Speaker 3: how I work when I don't have to do with
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  Speaker 3: the road closure. The road closure thing was the opposite.
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  Speaker 3: It was like totally totally organized.
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  Speaker 1: As that leader on that set. What was it like
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  Speaker 1: to work with Aaron and Saffron and THEO. I mean
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  Speaker 1: it's almost like, I mean, there were there was such
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  Speaker 1: a teamwork camaraderie there. It's almost like these guys have
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  Speaker 1: been together before because they knew each other through eye movement.
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  Speaker 1: I'm one of those people that likes to watch eyes
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  Speaker 1: when I'm studying a movie.
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  Speaker 2: That's really interesting. Man. Well, I mean I had sort
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  Speaker 2: of three little teams.
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  Speaker 3: I had the I have the police, and they're you know,
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  Speaker 3: they're there.
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  Speaker 2: And you build up the energy and you build.
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  Speaker 3: Up the sense of everyone's place within that structure, and
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  Speaker 3: again we try to keep that very lively and very dynamic,
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  Speaker 3: and and so you're kind of you're already feeling that tension,
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  Speaker 3: and the police kind of really you know, they run
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  Speaker 3: all the way through the film and they kind of
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  Speaker 3: hold the film together in some way, and then then
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  Speaker 3: we have the army and the Army guys. You know,
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  Speaker 3: there were some several X Army guys in the team
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  Speaker 3: there in terms of the engineers, and you know, Aaron
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  Speaker 3: did a lot.
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  Speaker 2: Of research about how you pay and all that, so they.
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  Speaker 5: Became a team almost immediately, you know, and Aaron sort
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  Speaker 5: of shout out at order and the guys would do it.
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  Speaker 2: You know.
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  Speaker 3: So it was like we almost had our own little
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  Speaker 3: military unit there, which was which is incredible.
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  Speaker 1: Wow, you do something at the end of the movie.
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  Speaker 1: I don't want to spoil the movie, but you do
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  Speaker 1: something that that really it was. It was almost like
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  Speaker 1: that little punch in the arm because when when the
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  Speaker 1: credits are right before they started happening, and you show
• 12:55
  Speaker 1: something and it makes you go what what? And and
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  Speaker 1: I want to say it so bad I'm gonna say it.
• 13:01
  Speaker 1: And if and if I cross the line, just let
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  Speaker 1: me know. You give me pictures of them telling the
• 13:05
  Speaker 1: story to make me believe that it was a true story.
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  Speaker 1: I mean you, I mean, I my wife and I
• 13:09
  Speaker 1: sat there going You've got to be kidding me. And
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  Speaker 1: so then all I mean, I just I just love
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  Speaker 1: the way that you did that that those you know,
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  Speaker 1: the little vignettes of sort that showed the storylines of
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  Speaker 1: all the different characters.
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  Speaker 2: It was interesting to do that.
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  Speaker 3: Part of it was was to kind of give a
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  Speaker 3: little bit of closure and to also sort of tell
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  Speaker 3: the audience because it's quite it's a little bit committee,
• 13:32
  Speaker 3: you know, you know again, sort of permission not to
• 13:35
  Speaker 3: take this too seriously, permission to have enjoyed yourself and
• 13:40
  Speaker 3: and got on the right but.
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  Speaker 2: You know, it's it's you know. That was that was
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  Speaker 2: the idea.
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  Speaker 1: And one of the coolest things that you do on
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  Speaker 1: this is that you really give these characters that that
• 13:52
  Speaker 1: that opportunity to look like real Special Forces officers and
• 13:56
  Speaker 1: or even just as somebody who's pulling off a heights.
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  Speaker 1: I love the way that you had them dressed and
• 14:01
  Speaker 1: really bringing that character to life because that's the kind
• 14:04
  Speaker 1: of stuff that we want to see in a movie
• 14:06
  Speaker 1: like this, because when we see these reality shows called
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  Speaker 1: Special Forces and stuff like that, that's exactly how they're
• 14:10
  Speaker 1: dressing as well, and it made it so much more
• 14:13
  Speaker 1: believable to see them in that that authentic wear.
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  Speaker 2: Yeah.
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  Speaker 3: No, Nigel, the costume designer was very important because in
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  Speaker 3: a way, you've got three sets of uniform. You got
• 14:23
  Speaker 3: the you know, the army, you got the police, and
• 14:25
  Speaker 3: even the bank robberts have a kind of uniform. So
• 14:28
  Speaker 3: we were playing with that game that they that you have.
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  Speaker 3: You're kind of united by wearing things that are kind
• 14:34
  Speaker 3: of similar because they are a uniform.
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  Speaker 2: But you bring out your characters.
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  Speaker 3: Within that, and so each one's sort of each one's
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  Speaker 3: able to kind of find themselves within that very struck
• 14:45
  Speaker 3: structured thing, which I find really interesting.
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  Speaker 1: Were you blown away by this speed or at least
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  Speaker 1: we felt it as viewers, the speed of how that
• 14:52
  Speaker 1: city shut itself down in that region. I mean it
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  Speaker 1: was like, oh my god, one, two, three, it was
• 14:57
  Speaker 1: shut down.
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  Speaker 3: Yeah, I mean, as I said, that's how, that's what happens.
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  Speaker 3: There are protocols there, and obviously we in the film,
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  Speaker 3: you know, editorially, I could probably have drawn it out
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  Speaker 3: a little bit more, but I just felt we want
• 15:10
  Speaker 3: to just get get to get on with the stories,
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  Speaker 3: so so that that was a choice.
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  Speaker 2: But yeah, you it's an eight hundred.
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  Speaker 3: Meter radius when you discover a bomb that size, which
• 15:20
  Speaker 3: is basically a square mile, and you've got to get
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  Speaker 3: everyone out of there, you know, and they you know,
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  Speaker 3: so they just moved super fast, you.
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  Speaker 2: Know, And yeah, that was part of part of the
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  Speaker 2: fun of it.
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  Speaker 3: And there's a couple of kind of comedian beats where
• 15:32
  Speaker 3: someone wants to collect their laptop and runs it through
• 15:36
  Speaker 3: through the cord and has to get chased and all that,
• 15:38
  Speaker 3: and it's exactly that kind of thing is trying to
• 15:41
  Speaker 3: trying to kind of make the sense of the humanity,
• 15:44
  Speaker 3: you know, being kind of puller out of that and
• 15:46
  Speaker 3: make it feel real but kind of fun too.
• 15:50
  Speaker 1: One of the things that you do in this movie,
• 15:52
  Speaker 1: and I'm sure that in a very long distance way
• 15:54
  Speaker 1: people are going to relate with this, is that when
• 15:56
  Speaker 1: you have the unexploded bomb from World War Two, my
• 15:59
  Speaker 1: heart and this maybe it's my age. I instantly went
• 16:02
  Speaker 1: to Princess Die in the way that she dedicated a
• 16:05
  Speaker 1: major part of her life looking for these little i U.
• 16:08
  Speaker 1: D s and all these different things on top of
• 16:09
  Speaker 1: the soil. It doesn't matter, you still found the bomb.
• 16:12
  Speaker 1: It took me to Princess Die. I mean, you really
• 16:14
  Speaker 1: did put us in a moment of where we can
• 16:16
  Speaker 1: relate with a story like this.
• 16:19
  Speaker 3: Well that's a I mean, it's interesting thinking that because
• 16:22
  Speaker 3: I mean obviously that there's there is a part of
• 16:24
  Speaker 3: the film which does involve i DS in a different way.
• 16:27
  Speaker 3: But yeah, I mean that that's that's the hope of
• 16:32
  Speaker 3: the hope of it is is that it's very identifiable,
• 16:35
  Speaker 3: and you can feel you know, you know you're with
• 16:38
  Speaker 3: you're with all the characters, and you're with the good
• 16:40
  Speaker 3: guys as well as the bad guys, and and and
• 16:43
  Speaker 3: in an ideal world, you're rooting for both.
• 16:46
  Speaker 1: I was just gonna say that, it's like I had
• 16:48
  Speaker 1: a hard time deciding who it is that I liked,
• 16:50
  Speaker 1: and and then you find yourself saying, I like the
• 16:51
  Speaker 1: whole damn thing. I can like them, all right. I
• 16:54
  Speaker 1: mean I kept looking at my wife just going I
• 16:55
  Speaker 1: I can dig these guys, right, yes, but but they
• 16:58
  Speaker 1: did bad?
• 16:59
  Speaker 4: Did they do bad? Look deeper in the story, dude.
• 17:03
  Speaker 2: Well that's interesting.
• 17:04
  Speaker 3: And I did this film ten years ago, Hello high Water,
• 17:06
  Speaker 3: and that was that there was similarities there. You were
• 17:09
  Speaker 3: kind of you were both identifying with the with the
• 17:11
  Speaker 3: bad guys and with the Texas Rangers, and it was
• 17:16
  Speaker 3: a kind of it was an interesting juggle that he
• 17:18
  Speaker 3: kind of sort of will that you want to let
• 17:21
  Speaker 3: them both even though you know that half of those
• 17:23
  Speaker 3: guys are doing pretty bad things.
• 17:25
  Speaker 1: I want listeners to know as they go into the
• 17:27
  Speaker 1: theater is that they get their drinks, get their popcorn.
• 17:30
  Speaker 1: And the reason why is because there was once a
• 17:32
  Speaker 1: time that I was actually hired to go to a
• 17:34
  Speaker 1: movie and document when people felt it was the right
• 17:37
  Speaker 1: time to go to the bathroom or go get more popcorn.
• 17:39
  Speaker 4: Ah, it didn't happen in this movie.
• 17:41
  Speaker 1: I didn't feel any time that I felt was the
• 17:44
  Speaker 1: right time to get up and do any of that.
• 17:46
  Speaker 1: And I just love that about a movie that captivates
• 17:49
  Speaker 1: my imagination that much.
• 17:52
  Speaker 3: Well, that's the intention that there's not really any pouls
• 17:54
  Speaker 3: at all. And week Matt and I were trying very
• 17:58
  Speaker 3: hard to to to really, you know, just keep that
• 18:01
  Speaker 3: tension up the whole time and keep and once once
• 18:04
  Speaker 3: you'd kind of put the hooks in, just.
• 18:06
  Speaker 2: Not to let go for the ninety one minutes and
• 18:08
  Speaker 2: then and then it's over, you know.
• 18:10
  Speaker 1: And we've always heard of how rainy it is. I
• 18:13
  Speaker 1: didn't see any rain going on in this movie. What
• 18:15
  Speaker 1: did you do? How did you forecast that?
• 18:17
  Speaker 4: One? Dude?
• 18:18
  Speaker 2: We got very very lucky.
• 18:22
  Speaker 3: Film takes place over six hours, and you know, if
• 18:25
  Speaker 3: they'd had a rainy day one day and a sunny
• 18:28
  Speaker 3: day another, the weather continuity could have really massive messed
• 18:30
  Speaker 3: us up. Were one day where we couldn't shoot because
• 18:33
  Speaker 3: it was a terrible storm, for the rest of it,
• 18:35
  Speaker 3: we got very lucky, and I'm you know, grateful for that.
• 18:39
  Speaker 1: Was Was there ever a time during the shooting of
• 18:41
  Speaker 1: the movie where you go, you know, the script is
• 18:43
  Speaker 1: really super tight, I need more humanism to it.
• 18:49
  Speaker 3: Yeah, I mean we we evolved that script a lot
• 18:52
  Speaker 3: in the run up to the making of it, and
• 18:54
  Speaker 3: you know.
• 18:55
  Speaker 2: All sorts of discussions were there.
• 18:57
  Speaker 3: The interesting thing about this thing, because it takes is
• 19:00
  Speaker 3: almost in real time, there's not a lot of room
• 19:02
  Speaker 3: to put a bit of you know, to slow the
• 19:04
  Speaker 3: film down with kind of elements of backstory and and
• 19:07
  Speaker 3: and and those kind of characters kind of evolution stuff.
• 19:10
  Speaker 3: So you've got to find it on the run. And
• 19:12
  Speaker 3: so that's one of the things that I'm sort of
• 19:14
  Speaker 3: most proud of in the film in a way, is
• 19:16
  Speaker 3: that you do get to know these characters, you do
• 19:18
  Speaker 3: get to understand their background, but you discover that in
• 19:21
  Speaker 3: very organic ways that don't stop the story, which which
• 19:25
  Speaker 3: is you know that it's hard to do, and I
• 19:28
  Speaker 3: feel that we achieved that.
• 19:30
  Speaker 1: Oh dude, I had a great time sharing a conversation
• 19:33
  Speaker 1: with you and loved the experience you shared with us
• 19:35
  Speaker 1: with this movie.
• 19:36
  Speaker 2: Thank you.
• 19:37
  Speaker 3: I really like the fact that you that you enjoyed
• 19:39
  Speaker 3: it so much, and thank you for saying all the
• 19:41
  Speaker 3: commos you said about it.
• 19:42
  Speaker 4: Will you be brilliant today?
• 19:44
  Speaker 2: Okay, thank you man, have a good day.
• 19:46
  Speaker 4: Thank you.