Latest / Kyle Meredith With... / Willem Dafoe, Corey Hawkins, Anna Diop & Nadia Latif on The Man in My Basement

Transcript

Willem Dafoe, Corey Hawkins, Anna Diop & Nadia Latif on The Man in My Basement · Kyle Meredith With...

• 0:00
  [SPEAKER_04]: It's easy to hear your favorite artist on WFPK from wherever you are.
• 0:03
  [SPEAKER_04]: Listen on your smart speaker, live stream from our website at WFPK.org from Louisville Public Media.
• 0:25
  [SPEAKER_03]: and welcome to another edition of Kyle Mirath with.
• 0:28
  [SPEAKER_03]: It's the interview series presented by WFPK at WFPK.org consequence and the consequence podcast network.
• 0:37
  [SPEAKER_03]: Thanks for checking us out.
• 0:38
  [SPEAKER_03]: Hopefully you're subscribed.
• 0:39
  [SPEAKER_03]: If you're not already, you can do so anywhere you're listening from Spotify, Apple Podcast, NPR, WFPK.org consequence.
• 0:48
  [SPEAKER_03]: YouTube for the video versions are anywhere you get your podcast from you can subscribe to Kyle Meredith with and please give us a series of rating, leave a review, why rat it, those always help out so much.
• 0:58
  [SPEAKER_03]: That's a great guest, dropped by lately, soft sell we're here, or orchestral maneuvers in the dark.
• 1:04
  [SPEAKER_03]: We talk with Sabrina and Patcha Tora.
• 1:06
  [SPEAKER_03]: you know her as Meralda in the paper, the office spinoff that's out on peacock.
• 1:12
  [SPEAKER_03]: Lizzie Hale, leasing her of a hailstorm was here, Wayne coin of the flaming lips, talked with the cast of alien earth on FX, including Timothy Olifant, Sidney Chandler, David Rizdahl.
• 1:25
  [SPEAKER_03]: And Noah Hawley, the showrunner director, writer, creator, devote, buy, black IPs, DJ Shadow, Gandy Tartakovsky, Amy Bird.
• 1:34
  [SPEAKER_03]: She did the, it's never over Jeff Buckley documentary that's out now and they might be giants.
• 1:39
  [SPEAKER_03]: That's just an example of what you get when you subscribe to the Kyle Meredith with podcast.
• 1:44
  [SPEAKER_03]: That's me Kyle here today.
• 1:45
  [SPEAKER_03]: It's a full house.
• 1:46
  [SPEAKER_03]: We're talking about the movie The Man in My Basement.
• 1:50
  [SPEAKER_03]: Legendary actor Willem Dafoe.
• 1:53
  [SPEAKER_03]: He's been in everything from the Green Goblin in Spider-Man to Vincent Van Gogh in at the turn of his gate.
• 2:00
  [SPEAKER_03]: He'll join Corey Hawkins from straight out of Compton and a die up from Titans and first time featured director Nadia Latif.
• 2:09
  [SPEAKER_03]: Now, the movie, the Man of my Bay since, it's actually based on the novel from Walter Mosley, and they're turning this psychological thriller where race and trauma and grief hunt every frame.
• 2:22
  [SPEAKER_03]: The story follows Charles Blakey, played by Corey Hawkins,
• 2:25
  [SPEAKER_03]: man on the verge of losing his ancestral sack harbour home, who agrees to rent his basement to the mysterious Aniston Bennett's William Duffo.
• 2:34
  [SPEAKER_03]: For the summer, only to find himself pulled into a chilling reckoning with history, family ghosts, and the root of all evil.
• 2:43
  [SPEAKER_03]: We're going to start with Willem Dafoe.
• 2:46
  [SPEAKER_03]: He's going to dig into acting as pretend courage.
• 2:50
  [SPEAKER_03]: Why first days on the set still terrifying and how genre let's hard-true sneak up on the audience.
• 2:57
  [SPEAKER_03]: So let's get into this talking the man in my basement.
• 3:00
  [SPEAKER_03]: It's Kyle Meredith with Willem Dafoe.
• 3:02
  [SPEAKER_03]: Hi Kyle.
• 3:03
  [SPEAKER_03]: Pleasure to talk to you.
• 3:04
  [SPEAKER_03]: I can graduate and you, I'm sure along with everybody else on this incredible story here.
• 3:09
  [SPEAKER_03]: Great, thank you.
• 3:11
  [SPEAKER_03]: So when you see a script like this, just because there's so many layers to this, the person on the bigger things, like, like, I don't know, what comes to your mind?
• 3:22
  [SPEAKER_03]: Is this, is this, can I do this?
• 3:24
  [SPEAKER_03]: Or is it a, how can I do this?
• 3:26
  [SPEAKER_00]: Yeah.
• 3:26
  [SPEAKER_00]: It's how can I do this?
• 3:28
  [SPEAKER_00]: Can I do this?
• 3:29
  [SPEAKER_00]: Do I want to do this?
• 3:30
  [SPEAKER_00]: Does this represent a proposal for an adventure?
• 3:36
  [SPEAKER_00]: Am I going to learn something?
• 3:38
  [SPEAKER_00]: Am I going to be engaged?
• 3:39
  [SPEAKER_00]: Am I going to be kicked in the pants?
• 3:42
  [SPEAKER_00]: You know, all those things.
• 3:44
  [SPEAKER_03]: And what was the plan?
• 3:45
  [SPEAKER_03]: Are you kicking the pants?
• 3:47
  [SPEAKER_00]: Yeah, a little bit.
• 3:48
  [SPEAKER_00]: I'm always kicked in the pants.
• 3:50
  [SPEAKER_00]: You know, every time.
• 3:56
  [SPEAKER_00]: no matter how many times you do it, you always have to begin and say, how does this go?
• 4:02
  [SPEAKER_00]: Yeah, no, and I'm grateful for that.
• 4:04
  [SPEAKER_03]: It's interesting, too.
• 4:05
  [SPEAKER_03]: I've been, I'm hoping this will be clear enough to you because I've watched some of the other interviews just about acting and about how you approach a role.
• 4:13
  [SPEAKER_03]: And the way you talk about acting reminds me of the way Keith Richards or Mike Campbell talk about guitar playing.
• 4:20
  [SPEAKER_03]: Like, there's this.
• 4:21
  [SPEAKER_03]: Okay, cool.
• 4:23
  [SPEAKER_03]: It doesn't feel like they're overthinking it, but they've got the tools already there, I guess.
• 4:28
  [SPEAKER_00]: You never seem like you're overthinking something.
• 4:31
  [SPEAKER_00]: Oh God, I think it's human nature to overthink something, but you know, I try to always keep on going back to, you know, the basic things that I know and then the refinement, you know,
• 4:51
  [SPEAKER_00]: but there's certain things that I always go back to.
• 4:55
  [SPEAKER_00]: So I guess that keeps me about overthinking it because performing is all about doing things.
• 5:01
  [SPEAKER_00]: And I don't talk a lot about it.
• 5:05
  [SPEAKER_00]: I, you know, you create a background in experience by doing things.
• 5:10
  [SPEAKER_00]: And it's all about calling response and making a gesture and then making another gesture.
• 5:15
  [SPEAKER_00]: I don't think about interpreting or what I have to say.
• 5:21
  [SPEAKER_00]: I'm much more concentrated on the experience of the doing.
• 5:25
  [SPEAKER_03]: Well, you do a lot as we, I mean, there's so much part of this movie, you know, you're trapped in a cage and, and the darkness and the light and the way that plays with that.
• 5:35
  [SPEAKER_03]: I'd like to, I guess about the genre too, because we're seeing, especially in psychological thrillers and horrors.
• 5:43
  [SPEAKER_03]: I guess they've always been able to tell stories, but there's something about it.
• 5:47
  [SPEAKER_03]: I mean, you know, we look at black history right now, you know, with.
• 5:50
  [SPEAKER_03]: with movies like us and sinners and something.
• 5:53
  [SPEAKER_03]: I mean, do you think genre helps tell the story?
• 5:56
  [SPEAKER_03]: It feels like an obvious way to ask that question too, obviously.
• 5:59
  [SPEAKER_00]: No, no, I think that, you know, I can't quite identify what this is genre-wise.
• 6:04
  [SPEAKER_00]: I guess you'd say psychological thriller with a low horror spice in there.
• 6:10
  [SPEAKER_00]: But yes, I think there are certain conventions that can propel things and then you can make people relax and in how they look at something because they have the comfort it's just like what narratives do sometimes narratives let people
• 6:30
  [SPEAKER_00]: Relax because there's a familiarity.
• 6:32
  [SPEAKER_00]: There's a movement that they can hop on, but you can't let them just stay on the narrative Otherwise, you know, it's just a diversion and they sort of get in a trance, you know, but I think genre invites sometimes
• 6:49
  [SPEAKER_00]: and people that may not want to deal with some of the themes in the movie will sneak up on them as they're kind of enjoying the aspects of the genre that they respond to, then all of a sudden this other stuff will creep up on them.
• 7:07
  [SPEAKER_00]: So I think it can be a vehicle for some interesting discourse about very important things sometimes.
• 7:19
  [SPEAKER_03]: Welcome back, it's Kyle Meredith with Willem Dafoe.
• 7:22
  [SPEAKER_03]: Well, any, any, I mentioned that, you know, seeing you in that, like, in that cage and and God, there's that I won't give away the scene, but there's the one scene where you're in it, man, you are deep in it, sure you can act, but, but where do you go, like, psychologically?
• 7:39
  [SPEAKER_00]: I, I pretend, that's what I do, I, I pretend I'm the guy, that's all.
• 7:48
  [SPEAKER_03]: I mean, that's acting, right?
• 7:50
  [SPEAKER_03]: It's like this.
• 7:51
  [SPEAKER_00]: Yeah.
• 7:52
  [SPEAKER_00]: Little kids, they're deep in it sometimes, you know?
• 7:55
  [SPEAKER_00]: I play the cop, you play the robber, let's go.
• 7:58
  [SPEAKER_00]: They're in it, they're in it.
• 8:00
  [SPEAKER_03]: That's what I meant by the Keith Richardson right there is like I just write the riff, man, and yeah, it's because because like I'm not an actor in that way, but what scares me about that is thinking of going through that situation of of this film specifically and what that would do to my own psyche.
• 8:22
  [SPEAKER_00]: I mean, as a person like you, if you imitate these things or you pretend these things they might hurt you yourself.
• 8:31
  [SPEAKER_03]: That's what it feels like it would do to be in that moment, you know, time and time again, seen after seeing.
• 8:37
  [SPEAKER_00]: You've protected, you know, if you can survive this stuff and pretend you start to get the illusion that you can survive it in life, you know?
• 8:46
  [SPEAKER_00]: So it becomes a little bit once again, it becomes a vehicle for a certain kind of courage, because really, every time you work on a film, you're kind of like, how does this go?
• 8:58
  [SPEAKER_00]: Can I pull this off?
• 9:00
  [SPEAKER_00]: You always go, you always start with a place of insecurity.
• 9:04
  [SPEAKER_00]: First days on a set are miserable for me, because
• 9:08
  [SPEAKER_00]: I'm nervous, I, you know, you'd think that after doing this many times you'd be like, I got this, but it's never like that.
• 9:16
  [SPEAKER_00]: And as I say, I'm thankful for it because that's what keeps you alive and that's what keeps you on it.
• 9:24
  [SPEAKER_00]: not just sleepwalking through stuff that you already know so I guess you know using your guitar example it's probably the same thing you know you can play a song a million times but if you know how to enter it every million times then then your musician yeah right right so kind of varying in that direction still like
• 9:51
  [SPEAKER_03]: Does it change the experience like for this to be a two-hander for you?
• 9:55
  [SPEAKER_00]: Yeah, it does.
• 9:56
  [SPEAKER_00]: I mean, you know, conditions of the story and the conditions of the shooting, whether it's a big budget, budget, quick shoot, little shoot, no director, old director, you know, all that stuff gets factored in and gets expressed in how it conditions what you're doing.
• 10:14
  [SPEAKER_00]: But the clear thing about this is,
• 10:17
  [SPEAKER_00]: You know, it's much as hung on the text, much more than usual, I'd say.
• 10:23
  [SPEAKER_00]: And the shooting is quite direct for the most part, because the emphasis is on, yeah, the text is very strong in this.
• 10:34
  [SPEAKER_03]: Some of those lines, I think I wrote down so many, but like, people die every day.
• 10:39
  [SPEAKER_03]: Like, there's a lot of good lines in this.
• 10:41
  [SPEAKER_03]: There's something about that one that just hangs with me, you know, okay.
• 10:47
  [SPEAKER_00]: Yeah, it's all the context in the speeches.
• 10:49
  [SPEAKER_00]: It's sometimes the things that are expressed that are a little per se, but given where they sit in the speeches, they kind of sing sometimes.
• 11:02
  [SPEAKER_03]: for you to be this busy cut I was looking at it five movies last year seven the year before six years here and I think I'm going back to what I was talking about beforehand about that you know having a character sit with you like that like are you just visiting the characters like that's again that's just so many people to inhabit in quick succession I guess um it is but you're activated by the camera and
• 11:30
  [SPEAKER_00]: You know, characters are revealed through the actions and the situation.
• 11:35
  [SPEAKER_00]: And when those situations and the environment to make that character be born is gone, the character goes away too.
• 11:44
  [SPEAKER_00]: I mean, you carry all these characters around.
• 11:46
  [SPEAKER_00]: You do too.
• 11:47
  [SPEAKER_00]: You're capable of all kinds of behavior.
• 11:50
  [SPEAKER_00]: Anyone's capable of any kind of behavior.
• 11:53
  [SPEAKER_00]: And you're just willfully tapping in to those things and trying to let them emerge.
• 12:05
  [SPEAKER_00]: all the functions that happen without your volition.
• 12:08
  [SPEAKER_00]: You know, they happen without you.
• 12:10
  [SPEAKER_00]: So your job is kind of to direct the ship and then the ship will, you know, go in the right direction.
• 12:18
  [SPEAKER_03]: Yeah, well, Kudos to you and the whole team for what you all did here.
• 12:22
  [SPEAKER_03]: Okay, okay.
• 12:23
  [SPEAKER_03]: What a brilliant movie.
• 12:24
  [SPEAKER_03]: And thank you so much for taking the time to talk about it.
• 12:26
  [SPEAKER_03]: Sure.
• 12:27
  [SPEAKER_03]: Thanks.
• 12:28
  [SPEAKER_03]: And we'll be right back, right after this.
• 12:31
  [SPEAKER_03]: Welcome back, it's Kyle Meredith.
• 12:32
  [SPEAKER_03]: We're talking about the man in my basement.
• 12:35
  [SPEAKER_03]: Now we turn things over to Corey Hawkins and a die up in Nadia, Latif.
• 12:39
  [SPEAKER_03]: In fact, Nadia is going to reflect on making her feature debut and weaving her own story of loss into a Mosley's text while Corey details playing Charles's transformation, opposite to foe in a basement where time itself bends.
• 12:54
  [SPEAKER_03]: Anna speaks to how horror and thriller connects
• 13:01
  [SPEAKER_03]: Man in my basement, it's Kyle Meredith with Cory Hawkins and a die up in Nadia Latif.
• 13:06
  [SPEAKER_03]: I'm going to tell you, and Nadia, I'll start with you, congratulations on your first feature because what a hell of a statement.
• 13:14
  [SPEAKER_04]: Yeah, yeah.
• 13:17
  [SPEAKER_03]: There's a quote that you'd said about finding your story within the author's work and pushing that through, which is the obvious place to say why this story.
• 13:29
  [SPEAKER_07]: Uh, I think, you know, it's, uh, no, first I feel no better to think so I'm going to take on the work of literary titan, but also why the hell shouldn't you if you find yourself within it?
• 13:38
  [SPEAKER_07]: And, you know, I'd read Walt's book over 20 years ago and he had just like stayed with me for decades.
• 13:44
  [SPEAKER_07]: Um, but I think then when you get to the job of adapting it, you can't kind of be overruled by that.
• 13:49
  [SPEAKER_07]: You have to go, who am I?
• 13:51
  [SPEAKER_07]: What is my personal?
• 13:52
  [SPEAKER_07]: experience and how do I find that in the story because every film has to be personal.
• 13:56
  [SPEAKER_07]: It's not, you cannot make a film that is not personal to you and actually, you know, it's actually quite emotional things in the story that are very personal to me.
• 14:04
  [SPEAKER_07]: Like, you know, the idea of, you know, when character and core is character being these two who have no families,
• 14:10
  [SPEAKER_07]: left.
• 14:10
  [SPEAKER_07]: I don't know what that means and I think about my own terror at the day that I will lose my parents.
• 14:15
  [SPEAKER_07]: It is something that will happen to all of us and that's like a really simple thing.
• 14:19
  [SPEAKER_07]: But it that totally guided me into an interpretation of Charles which I think is quite different from the novel actually of being somebody who is actually completely overwhelmed by his grief.
• 14:29
  [SPEAKER_07]: You know, it's like, you can sort of normalize it again.
• 14:31
  [SPEAKER_07]: Well, we're all gonna lose our parents and it's like, yeah, but it's okay to not get over that.
• 14:35
  [SPEAKER_07]: It's okay for that to be like a thing that actually knocks you back and that you can't stand up from.
• 14:41
  [SPEAKER_07]: So then it began to influence everything at influences how he behaves with his friends, how his friends treat him, how his neighbor treats him.
• 14:48
  [SPEAKER_07]: It's like this is somebody who is so clearly racked by grief still, even though I think when we just got to his mother's been dead for over 10 years.
• 14:56
  [SPEAKER_07]: But it's fine, you don't have to get over that, you know, similarly with everything that happens with this uncle, you know, I really felt like I've kind of felt not sweet for you to be like everybody's kind of got that uncle or there's like somebody in the periphery of their life or you're just like, we don't love him, you know, I don't uncle who used to like flick his cigarette butts at me driving like, you know, it's not a nice guy, but it's like again, what if that became just like a much bigger,
• 15:20
  [SPEAKER_07]: thing for him, you know, I mean like thing of like actually, you know, the ways that we treat boys and we try and make them tough when we kind of cut them down, you know, because it's supposed to strengthen them.
• 15:31
  [SPEAKER_07]: What if that wasn't all right?
• 15:33
  [SPEAKER_07]: So, you know, there were kind of bigger political things, obviously, kind of where I reside in the story about the contrasting of African American history and African geopolitics and all of those, but actually the things that told me how to tell the story with the emotional things, because I think it has to be
• 15:50
  [SPEAKER_07]: Story because I also think that actors can't play ideas like they can't play you know There is a place for like adjutant political cinema of course it was but actually I think it's like when you're playing a scene you're not thinking about like but what does this mean?
• 16:02
  [SPEAKER_00]: Right.
• 16:03
  [SPEAKER_07]: It's still because it you know it's like I've got an actress friend Who's brilliant woman and whenever she starts something she goes okay What's the last thing that happened and when did my character last eat?
• 16:13
  [SPEAKER_07]: I mean like as it like those as we're kind of really simple you know So like we talked a lot about the fact that like
• 16:18
  [SPEAKER_07]: Charles hasn't got anything in his fridge at the beginning of the film.
• 16:21
  [SPEAKER_07]: He's eating like day old potato chips It's doing like these are the thing you know Yeah, he's gonna go and try and get that job because he does not know where his next meal come and those are the really Strong things that you're playing seem to seem not you know what is my psychology
• 16:37
  [SPEAKER_03]: It's interesting to hear you talk about that because the layers, especially when you walk away from this movie and for me at least I can say thinking about it for days afterwards and just as you're talking about these very personal things to the bigger things, you're a character brings and of course we're talking about race and trauma and everything that's come along with black history and when you look at
• 17:03
  [SPEAKER_03]: I don't know, maybe it's a genre at this point.
• 17:05
  [SPEAKER_03]: You know, we're seeing movies like Centers and us.
• 17:08
  [SPEAKER_03]: And I think about the way Black History is being talked about through psychological thrillers, through horror.
• 17:15
  [SPEAKER_03]: And it seems to be connecting so much more than otherwise.
• 17:20
  [SPEAKER_03]: Is that a question?
• 17:22
  [SPEAKER_06]: Are you talking about the use of genre to tell these stories?
• 17:24
  [SPEAKER_03]: Sorry.
• 17:25
  [SPEAKER_03]: Sorry if I'm not saying that plainly.
• 17:26
  [SPEAKER_06]: I'm not.
• 17:28
  [SPEAKER_06]: Yeah, I hear you.
• 17:29
  [SPEAKER_06]: I think the reason they're more effective
• 17:33
  [SPEAKER_06]: I think they just lure people in in a different way, you know, a straight-up drama, people are expecting a very tedious or, you know, nobody wants to be lectured to, so John Rakev's, I think filmmakers' creatives away to get really important topics across while kind of putting it in this more entertaining.
• 17:59
  [SPEAKER_06]: way and it also I mean you can speak to this but it seems like it gives filmmakers more free range to to kind of unpack.
• 18:09
  [SPEAKER_06]: It's a big appallet.
• 18:10
  [SPEAKER_07]: Yeah, you just have pain in the back basically.
• 18:14
  [SPEAKER_06]: Yeah, so I think it's it's really beautifully effective in that way.
• 18:19
  [SPEAKER_07]: I think it feels like you're like it just feels like for a lot of black people you know you I mean you know I remember we were
• 18:27
  [SPEAKER_07]: When we first started talking, we were talking about experiences through the Black Lives Matter movement and how that changed things in our lives.
• 18:35
  [SPEAKER_07]: Like, we've been through this kind of radical few years of more Black and Brown people died of COVID than, you know, like, there were a lot of stuff that you're like, this is just sitting in the background of my experience of the world as well.
• 18:48
  [SPEAKER_07]: Black people, but I just feel like when I was getting ready to, when I was writing the film, you know, I was reading like a lot of kind of post-colonial fiction and I was reading Adam Hochschild's book, King Leopold's Ghost, and I think that there is it, unfortunately, but like let's be really honest about how history operates.
• 19:08
  [SPEAKER_07]: There is a violence and an ugliness to history that you have to like reckon with, and I think in a weird way when you tell,
• 19:15
  [SPEAKER_07]: You know, when you read about like Leopold in the Congo and you read about the things that the Belgians did to the Congolese It is the stuff of nightmares.
• 19:22
  [SPEAKER_07]: It is the stuff of like intense cruelty because there are no There's no cost to it.
• 19:29
  [SPEAKER_07]: They could do whatever they wanted.
• 19:30
  [SPEAKER_07]: Yeah, I mean, and so actually I think when you see that when you tell it in a film
• 19:35
  [SPEAKER_07]: spinning it into that kind of like horror thriller dog space feels appropriate actually you're like yeah that that is what life is like for a lot of us yeah I mean and yeah history is what what history history is more scary than like yeah history is a shit show you know Corey well we're here and everything I mean here you are playing someone who's really
• 20:01
  [SPEAKER_03]: coming to some kind of terms with reckoning as we go along and seeing him transform over the movie.
• 20:09
  [SPEAKER_03]: Like a lot of movies aren't shot obviously in sequence and in order.
• 20:14
  [SPEAKER_03]: What was that process like for you because there's so many different moments of these realizations of of everything, you know, that that arc of that I guess you had to play.
• 20:27
  [SPEAKER_05]: Um, yeah, shout out to Prince on the wall.
• 20:29
  [SPEAKER_05]: Um, I, I, I just credit, not a forgiven, uh, especially a lot of those scenes in the basement, um, given us that runway to be able to,
• 20:41
  [SPEAKER_05]: Tell that story in sequence, because we've been incredibly hard to try to take that out of a sequence, and I think it also feels a very different cinematic language, then.
• 21:00
  [SPEAKER_05]: than his sort of upstairs life.
• 21:02
  [SPEAKER_05]: And in that basement, Charles can kind of be for Aniston, whoever he chooses to reveal himself to be to Aniston.
• 21:11
  [SPEAKER_05]: And then he can take whatever that is that Aniston offers up.
• 21:16
  [SPEAKER_05]: and take that into his life upstairs and see how that manifests because he's a man who sort of is like water and sort of shapes to whatever, you know, at this particular moment in his life.
• 21:31
  [SPEAKER_05]: I don't think Charles was always like this and I think so we meet him in a very like,
• 21:35
  [SPEAKER_05]: very specific moment in his life that can be uncomfortable to sit in.
• 21:40
  [SPEAKER_05]: It was certainly uncomfortable for me.
• 21:41
  [SPEAKER_05]: It's the actor to sit in but uncomfortable as it should be for the viewer to sort of watch him go through this and to see what that motor ultimately ends up becoming.
• 21:52
  [SPEAKER_05]: I mean it's beautiful to watch him get more curious about the world through that lens.
• 22:02
  [SPEAKER_07]: I think it's interesting, you know, we took to a lot, like me and Cory were there being like plotting out every scene of the film and being like, what day is this, you know, how long is, you know, you way that I really specific work that you have to do.
• 22:12
  [SPEAKER_07]: And then on the flip side, Willam was just like, there's a matter of me because I'm, you know, but and he says in the film he's like, I have no idea what day is, and it's only what you tell me is, which put them in a very specific, like, it's cool.
• 22:24
  [SPEAKER_07]: Yeah, yeah, and of course it came down in a different costume.
• 22:26
  [SPEAKER_07]: It was like, okay, different day, because that's the only thing that tells me.
• 22:30
  [SPEAKER_07]: And so there became a sort of interestingness about like time operating completely differently in the film for the two of them, but also for us, you know, and it affected all sorts of things, but the sound design affected the lighting, but actually I began to sort of really enjoy that.
• 22:45
  [SPEAKER_07]: And that obviously that begins to get used as a kind of threat of like, when is, you know, when are they going to see each other?
• 22:51
  [SPEAKER_07]: And the next time, and I've said this earlier, but I did quite a lot of reading around how time and space is kind of impacted by being underground or in deep space, like I was sort of fast, you know, I was like,
• 23:05
  [SPEAKER_07]: read books about people who go on very long submarine missions and be like how it totally skews if you don't see natural light like how that actually messes with your brain if you read some of the hobbies book orbital which is about the people living in international space station again just like what impact that has on your body when time doesn't operate in the same way on you
• 23:25
  [SPEAKER_07]: Sorry, so let's admit that it's a physical for this algorithm.
• 23:27
  [SPEAKER_03]: No, no, I love it because luckily you've answered some of my other questions about the lighting because it's very noticeable the way you play with the lights and the colors and the angles and everything.
• 23:35
  [SPEAKER_03]: And I know I've got to write this up, so I'll just again compliment you all because it is brilliantly shut and brilliantly acted and with the theater people and I do wish I had been able to ask about the magnet wrangling because that sounds like something.
• 23:48
  [SPEAKER_07]: real job and 158 maggots.
• 23:51
  [SPEAKER_07]: They have to count them in and out with a little clicker.
• 23:53
  [SPEAKER_07]: In case one got left behind.
• 23:55
  [SPEAKER_07]: You can't leave no maggot left behind.
• 23:57
  [SPEAKER_01]: You can see.
• 23:59
  [SPEAKER_07]: The maggots were harmed in the making of this one.
• 24:00
  [SPEAKER_01]: Yeah, you can make it.
• 24:02
  [SPEAKER_01]: Look at that.
• 24:03
  [SPEAKER_01]: Congratulations to you all.
• 24:04
  [SPEAKER_01]: Thank you for doing the work that you've done.
• 24:07
  [SPEAKER_01]: Thank you.
• 24:08
  [SPEAKER_03]: And then we have it thanks to Corey Hawkins and a die-up, Nadia Latif, and Willem Dafoe.
• 24:15
  [SPEAKER_03]: The man of my basement, in select theaters now, will be on Disney Plus at some point soon-ish.
• 24:21
  [SPEAKER_03]: I expect.
• 24:22
  [SPEAKER_03]: Thanks to you for checking out the episode, hit that subscribe button before you get out of here that way you can keep up with all the interviews at a putout just like this one's Spotify Apple Podcast in PR.
• 24:32
  [SPEAKER_03]: WFPK.org consequence YouTube for the video versions or anywhere you get your podcast from you can subscribe to Kyle Meredith with please to give this series a rating and leave a review while you're at it.
• 24:44
  [SPEAKER_03]: After that you can head over to WFPK.org.
• 24:47
  [SPEAKER_03]: That's where I do a show Monday through Friday starting 6 p.m.
• 24:50
  [SPEAKER_03]: Eastern.
• 24:51
  [SPEAKER_03]: It's 4 hours of classics from the 80s and 90s you get the best in new music bonus interviews
• 24:57
  [SPEAKER_03]: Lots of music news as well.
• 24:58
  [SPEAKER_03]: In fact, one of my recent episodes featured some classics and favorites from Networking Cole, The Who, John Prime, Common Pete Rock in Excess, Garbage, REM, Prince, Jack Johnson, John Batiste, Leon Bridges, Stereophonics, and my interviews with Chrissy Hine of the Pretenders, Italian actress Matilda De Anglas, and Keith Powers of Ugly's.
• 25:22
  [SPEAKER_03]: That's what you get when you turn in week 9 starting 6pm Eastern at wfpk.org Consequence has your music and film news.
• 25:32
  [SPEAKER_03]: You can also find me on any of the social media sites The address is always at Kyle Meredith that do hope you like and follow along That does it for another edition of Kyle Meredith.
• 25:40
  [SPEAKER_03]: I'll see you next time
• 25:54
  [SPEAKER_04]: consequence podcast network it's easy to hear your favorite artist on WFPK from wherever you are.
• 26:00
  [SPEAKER_04]: Listen on your smart speaker live stream from our website at WFPK.org from Louisville Public Media.