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Behind The Film: Winter of the Crow with Kasia Adamik · Indie Film Weekly

• 0:00
  SPEAKER_01: Welcome to Indie Film Weekly Behind the Film.
• 0:03
  SPEAKER_01: I'm Glenn Reynolds.
• 0:04
  SPEAKER_02: And I'm Jason Connell.
• 0:06
  SPEAKER_02: Today we're going behind Winter of the Crow, starring Leslie Manville as a British professor who arrives in Warsaw just as martial law is imposed in 1981.
• 0:15
  SPEAKER_02: After witnessing a murder by the secret police, she finds herself trapped in a country that is effectively shut down.
• 0:22
  SPEAKER_01: I really love political thrillers, and this is a great one.
• 0:25
  SPEAKER_01: What worked for me so well is how completely it puts us inside the main character's experience.
• 0:32
  SPEAKER_01: The more lost and uncertain she becomes in this world, the more disorienting the film becomes.
• 0:38
  SPEAKER_01: And Leslie Manville gives us someone we can follow through all of it without ever making Joan feel like a conventional thriller hero.
• 0:46
  SPEAKER_01: It's really worth a good watch.
• 0:49
  SPEAKER_02: So let's meet Cassia Adamik and go behind Winter of the Crow.
• 0:53
  SPEAKER_01: Thank you so much for joining us.
• 0:55
  SPEAKER_01: Every film starts somewhere.
• 0:57
  SPEAKER_01: Where did Winter of the Crow start for you?
• 1:00
  SPEAKER_03: So it's actually a very long story, and it was a very long process from the idea of it to the final film.
• 1:07
  SPEAKER_03: And we actually counted this because I met the screenwriter of the film the first time when we started talking about the film and adapting this short novel by Olga Tokartuk.
• 1:16
  SPEAKER_03: And she was pregnant, and now her kid is 13.
• 1:20
  SPEAKER_01: That's a journey.
• 1:21
  SPEAKER_01: Wow.
• 1:21
  SPEAKER_03: Yeah, it was a very long journey.
• 1:23
  SPEAKER_03: First a long adaptation process and then the long uh production financing and production process.
• 1:28
  SPEAKER_03: But when I read the novel for the first time, that was still a few years before that.
• 1:32
  SPEAKER_03: And it was before I really thought about adapting it.
• 1:35
  SPEAKER_03: I just really loved it.
• 1:36
  SPEAKER_03: I loved it because it kind of like sometimes with great literature, what happens, you know, when you read a book and you have an impression it talks about what you're feeling better than you would talk about it, or better than you actually feel it.
• 1:50
  SPEAKER_03: I felt uh like Olgato Kantri was describing something I had in my head about this experience of martial law because I was a kid, I remember it very well.
• 1:59
  SPEAKER_03: But I remember it very well through you know years, memories, you know, dreams, and through the eyes of a child.
• 2:05
  SPEAKER_03: So everything was very exacerbated, very different from I think the actual you know, memories of an adult.
• 2:12
  SPEAKER_03: And the novel had something like that.
• 2:14
  SPEAKER_03: It had some dream-like, absurd atmosphere that just really spoke to me.
• 2:20
  SPEAKER_03: So that's what happened.
• 2:21
  SPEAKER_03: And I was actually working with Olga Tokacuk on another adaptation on another film called Spur, which I co-directed with Agnieszka Holland.
• 2:30
  SPEAKER_03: And uh I asked her for the rights to the novel, it's her own short novel, it's like seven pages long, and I said, Listen, give it to me, just so short.
• 2:36
  SPEAKER_03: I really want to do something with it.
• 2:38
  SPEAKER_03: And she said, I would love to give it to you, but I already promised it to this young German writer.
• 2:42
  SPEAKER_03: And this was Sandra Buchsta, which I end up meeting, and we ended up doing the movie together.
• 2:47
  SPEAKER_03: So wow, that's the short, that's a very short answer for the question.
• 2:52
  SPEAKER_02: Well, it's amazing, and I want our listeners to know this, our viewers, that the writer is also a Nobel Prize-winning writer.
• 3:00
  SPEAKER_02: So it's like, yes, you know, that's a big praise.
• 3:03
  SPEAKER_03: Yes, she got the Nobel Prize after we worked on the previous film.
• 3:08
  SPEAKER_03: So I think she would give the rhymes to her novels much more freely than she would do now or after the Nobel.
• 3:14
  SPEAKER_03: We're very lucky to catch her in the time when she was not uh completely worldly known yet.
• 3:19
  SPEAKER_03: It's actually very interesting with Olga to catch her because her literature has a very specific tone.
• 3:24
  SPEAKER_03: Agnishka and her struggled also long years before adapting Spore, which is adapted from another book, Dragging Your Plough through Bones of the Dead, I believe is the English name of that book.
• 3:36
  SPEAKER_03: It's also a thriller and kind of a vengeance story.
• 3:39
  SPEAKER_03: But her tone is difficult because she has a lot of like backstories in her characters that it's obviously very difficult to put into a film.
• 3:46
  SPEAKER_03: And she also has this kind of like absurdity, lightness, and humor, even when talking about very serious subject matters.
• 3:54
  SPEAKER_03: And this term is very difficult to capture.
• 3:56
  SPEAKER_03: We try to have a little bit of humor in the film, you know, even though the subject matter is very pretty grim.
• 4:02
  SPEAKER_03: But you know, there is this note of uh of absurdity and humor in it, which also is very much held by Leslie Man's performance.
• 4:09
  SPEAKER_03: And that's what we struggled with a little bit, how to show this the past and future lives of these people when we catch only a few days of their lives.
• 4:17
  SPEAKER_03: So we decided to just really do the story extremely subjectively, to whole world, world build up, not to have a political background and the political situation and the factography of the time, which is really concentrated on the emotional, very personal, subjective journey of this one character.
• 4:33
  SPEAKER_01: So and that helped us kind of you know Yeah, your main character feels very, I mean, right out of the gate, very formidable, and then becomes you know very vulnerable very quickly.
• 4:44
  SPEAKER_01: Why did you change Professor Andrews from a man in the story to a woman in the film?
• 4:51
  SPEAKER_03: Again, it's a very short question with a very long answer, I'm afraid.
• 4:56
  SPEAKER_03: And then tell me if I talk too much, you know, I can't wait.
• 5:02
  SPEAKER_03: But we actually uh adapted the the first versions of the script where with the man in the main role.
• 5:09
  SPEAKER_03: And uh we even were in talks with a really cool actor to play this.
• 5:14
  SPEAKER_03: And since we struggled a little bit, you know, with the process of financing, as I think any film is struggling right now.
• 5:21
  SPEAKER_03: It's nothing, unfortunately, nothing special, but you have to have co-producers, you have to have co-producing countries to put a bigger budget together, you know.
• 5:29
  SPEAKER_03: So it's it takes a long amount of time.
• 5:31
  SPEAKER_03: And something was not clicking in the script.
• 5:33
  SPEAKER_03: The script was, I thought, very good, you know, like it worked, the plot worked, everything worked, and somehow something was missing, and sometimes it's difficult to really pinpoint it.
• 5:43
  SPEAKER_03: And uh actually, one of our producers, again, you know, like 10 years ago or eight years ago or something, they had this idea to maybe uh change the gender of the main character.
• 5:52
  SPEAKER_03: First, it was different reasons for it.
• 5:54
  SPEAKER_03: One of these was that there's so many great actresses, you know, especially you know with older actresses that are exactly formidable but don't have a huge amount of main roles offered to them.
• 6:05
  SPEAKER_03: And I really wanted to put that in on screen, and also for financing reasons, and I was very much against it.
• 6:12
  SPEAKER_03: I thought it was a very silly idea.
• 6:13
  SPEAKER_03: I thought that the fact it's a man, it's an important part of the story.
• 6:17
  SPEAKER_03: But we did it, we did it as an experiment, you know.
• 6:19
  SPEAKER_03: We changed the gender.
• 6:20
  SPEAKER_03: Gideon became Joanne, and suddenly, you know, everything clicked.
• 6:25
  SPEAKER_03: And it's very strange, you know.
• 6:27
  SPEAKER_03: Yeah, because exactly what you said, the vulnerability of her, you know, the fact that she physically, just even physically, is more vulnerable, more frail.
• 6:36
  SPEAKER_03: And in the same time, the strength in this frailer body was something very, very interesting.
• 6:42
  SPEAKER_03: So this whole like you know, physical journey became much more emotional.
• 6:46
  SPEAKER_03: One thing that I really love that you know, not changing the gender of any other character.
• 6:50
  SPEAKER_03: So then the relationship with the students, it became much more ambiguous, you know.
• 6:56
  SPEAKER_03: Of course, it's also uh a bit romantic, but it's not so straightforward as it would be with a man, right?
• 7:03
  SPEAKER_03: It's ambiguous.
• 7:04
  SPEAKER_03: She's kind of, I don't know if I can say bitch, but she's kind of a of a bitch, right?
• 7:09
  SPEAKER_03: And and somehow I forgive her for being a woman.
• 7:13
  SPEAKER_03: I understand she had to give parts of her humanity away to be successful in this world of male-dominated psychiatry in the 80s, you know, in Britain, which was a very patriarchal society.
• 7:25
  SPEAKER_03: And so she had to like hide her way up to the top, and she had to give something away, something of herself.
• 7:31
  SPEAKER_03: It became not about discovering, you know, uh an existing empathy in the you know from the air, but coming to her, discovering the empathy she always had within her, but she had to kind of hide, kind of like heel inside her to be able to succeed in her career, and also this kind of imperialistic image of the 80s in England with the face of Margaret Thatcher.
• 7:54
  SPEAKER_03: I thought there was like a cool, you know, like extension of that as well.
• 7:58
  SPEAKER_03: Suddenly it's all clicked.
• 7:59
  SPEAKER_03: We didn't change anything else in the script except the gender of the main character.
• 8:03
  SPEAKER_03: So that was an interesting experiment, I think.
• 8:06
  SPEAKER_02: When you started to do that and go down that road of the gender switch, were you already thinking of Leslie Manville?
• 8:12
  SPEAKER_02: Or was there like a slew of actresses you were hunting or what you were seeking?
• 8:15
  SPEAKER_03: There was a you know, there was a list.
• 8:17
  SPEAKER_03: The producers uh asked me to make my dream list, and you know, you make those lists when you do films, and you never get your first choice.
• 8:25
  SPEAKER_03: But she wasn't my first choice, and she didn't have time, you know, she didn't have time to do the film.
• 8:30
  SPEAKER_03: We started to look for somebody else, and we had really some really good, you know, meetings and ideas, and then the the production got postponed and postponed again, and suddenly she became available.
• 8:40
  SPEAKER_03: So we were lucky enough to send her the script, and we're lucky enough for her to just like the script.
• 8:45
  SPEAKER_03: I think basically she just loved the script and said yes.
• 8:48
  SPEAKER_03: And we started, you know, a month later because she had very a very small window to do the film.
• 8:54
  SPEAKER_03: She's actually a very busy gal right now.
• 8:58
  SPEAKER_01: Well, she's terrific in the movie.
• 8:59
  SPEAKER_01: Well, I love this she doesn't soften Joan too quickly, right?
• 9:03
  SPEAKER_01: No, at all.
• 9:04
  SPEAKER_01: Just in general.
• 9:06
  SPEAKER_01: Yeah, beyond just you know what's on the page.
• 9:08
  SPEAKER_01: What do you feel like Leslie brought to the character?
• 9:11
  SPEAKER_03: First of all, you know, I have to say, working with her, it was quite an experience because she's so extremely professional and so focused.
• 9:19
  SPEAKER_03: And she gives herself to the project.
• 9:21
  SPEAKER_03: She's a big star, she's a big actress, and she, you know, she never complains.
• 9:24
  SPEAKER_03: She holds on time, she's I mean, super, super professional.
• 9:28
  SPEAKER_03: But I think the what she really I mean, I knew she was a great actress.
• 9:31
  SPEAKER_03: I follow her from you know Mike Lee's old films and early films, you know.
• 9:35
  SPEAKER_03: I just and then you know, you go to see a movie like queer, and then she's like this mad professor in the jungle, and you're like, how can she do that and be uh Princess Margaret at the same time?
• 9:47
  SPEAKER_03: She can't do anything.
• 9:48
  SPEAKER_03: What she really has amazing comedic timing, exactly, you know, because the scenes were not so much written with the humor, but with one little look, like a micro-expression, or we just take a timing of her reaction, she can make something funny out of you know, like a normal situation, which I really loved, really loved that she could do that.
• 10:07
  SPEAKER_03: And I think not a lot of actors can do that.
• 10:09
  SPEAKER_02: Now I love period pieces, especially when you nail it.
• 10:13
  SPEAKER_02: And you really recreated Warsaw 1981, which had to be challenging.
• 10:18
  SPEAKER_02: Like, what was that?
• 10:20
  SPEAKER_03: This world uh doesn't exist anymore for sure.
• 10:23
  SPEAKER_03: It doesn't exist, and what made it even more complex is that we had to shoot half of it in Luxembourg.
• 10:28
  SPEAKER_03: Um wow, which doesn't look anything like Warsaw at any given time in history.
• 10:34
  SPEAKER_03: But obviously, we we mostly shot interiors.
• 10:36
  SPEAKER_03: We built some interiors on stage, we adapted some interiors in Luxembourg.
• 10:41
  SPEAKER_03: Actually, I think maybe because we had to recreate everything, and uh, you know, if we were shooting in Warsaw, we would just come to the same apartments that everybody shoots period pieces in, and they would be the same.
• 10:52
  SPEAKER_03: And since we couldn't do that, we could not be entirely realistic.
• 10:57
  SPEAKER_03: I think everything is extremely realistic, but a little bit exaggerated.
• 11:02
  SPEAKER_03: It was very important to me to recreate exactly this hyper-realistic feeling of this world.
• 11:07
  SPEAKER_03: Like the buildings are maybe like a few stories higher than they would be in reality, you know, the Norman's land that surrounds the satellite city, which existed.
• 11:15
  SPEAKER_03: I remember it very well, but maybe it's a bit bigger, maybe everything is a little bit exaggerated, and because we had to recreate it from scratch, we could, you know, kind of do this a little bit of post-apocalyptic feel to it, you know.
• 11:25
  SPEAKER_03: I think it's pretty realistic, and people who watch the film in Poland actually are very touched, you know, very emotional, like they think to remember, but city like that didn't exist, you know.
• 11:35
  SPEAKER_01: I think the film Brazil is an influence.
• 11:37
  SPEAKER_01: So you're taking from that a little bit.
• 11:39
  SPEAKER_03: Oh, absolutely.
• 11:40
  SPEAKER_03: I love Brazil.
• 11:41
  SPEAKER_03: I think you know, exactly this kind of like of course we didn't go that far, you know.
• 11:45
  SPEAKER_03: Just like of course for me, it was mostly who does mostly the sequences of this, you know, high-rides coming out of the ground that Jon Andrice was flying with the wings in between the buildings.
• 11:56
  SPEAKER_03: It was the images that stayed with me for you know all my life, you know, was in this movie when it was released, I think, in the 80s, right?
• 12:02
  SPEAKER_03: Somewhere, sometime in the 80s.
• 12:04
  SPEAKER_02: And just the cars that you got too were amazing.
• 12:07
  SPEAKER_02: Just to see the old automobiles from that time are great.
• 12:11
  SPEAKER_03: Yeah, yeah, yeah.
• 12:12
  SPEAKER_03: And you know, the Fiat, the Fiat 126p, it's called a small car.
• 12:16
  SPEAKER_03: It's really tiny.
• 12:18
  SPEAKER_03: And it's very funny when a grown person goes inside, it's like you're really like into this tiny box.
• 12:24
  SPEAKER_03: Uh, and again, the memory from childhood, like the carp in the bathtub.
• 12:27
  SPEAKER_03: I remember very well those those images from my life, or the fact that when you know the little girl turns on the TV and there's the general speaking, and you don't have the cartoons, which were usually on Sunday mornings for kids to watch.
• 12:39
  SPEAKER_03: All those things were in the book, but they're also from my childhood.
• 12:43
  SPEAKER_03: So there was like a this kind of mix of reality, because we also, of course, watched some of the photography uh by Chris Niedenthal that was in Poland at the time, who did an amazing photographic album of 1981 or so, and we'd watched some documentaries, but we mostly relied on imagination, basically.
• 13:01
  SPEAKER_03: So it was this kind of mix of both of those worlds.
• 13:03
  SPEAKER_01: I loved how dangerous those little Polaroids become in the film.
• 13:08
  SPEAKER_01: What interested you about making them so central to the story?
• 13:11
  SPEAKER_03: Actually, it's funny because Sandra wrote them into the story when we first met.
• 13:16
  SPEAKER_03: We thought how to adapt this seven pages, eight pages long novel into a feature film.
• 13:21
  SPEAKER_03: You need to like build something on the top of the story that's there.
• 13:24
  SPEAKER_03: And she wanted to do a this spy thriller, and she wrote the Polaroid in as a as exactly as this kind of like immediate proof of you know, now we have our iPhones.
• 13:35
  SPEAKER_03: But back in those days, you didn't have iPhones.
• 13:37
  SPEAKER_03: The only thing that you can watch and compare and look at immediately was a Polaroid, right?
• 13:43
  SPEAKER_03: And actually, I was like, oh my god, you know, you don't know that.
• 13:46
  SPEAKER_03: But when I was a kid, and after we immigrated from Poland with my mom, she gave me a Polaroid as a gift.
• 13:52
  SPEAKER_03: I was a bit of a weird child after immigration.
• 13:56
  SPEAKER_03: And uh we made the photographs of everybody who came visit the house, you know, like friends and family, and and we did this gallery in the corridor with all these Polaroids.
• 14:07
  SPEAKER_03: And after the fall of communism, she discovered that fake friends who were spying on her from the Polish secret police would come to the apartment and watching this wall, they would know who came and visited her from those Polaroids on the wall.
• 14:22
  SPEAKER_03: Wow, which we of course you know we didn't know about.
• 14:24
  SPEAKER_03: So I thought it was really kind of uh really real, and also from like a maybe psychological point of view.
• 14:31
  SPEAKER_03: Joanne, you know, struggles with this schizophrenia or like the fear of getting schizophrenia from her mother, you know, it's a hereditary thing.
• 14:39
  SPEAKER_03: And I think she kind of like uses this to check reality to see what's real and what's not real.
• 14:44
  SPEAKER_03: So that's like her like lifeline to reality somehow.
• 14:48
  SPEAKER_03: I thought it was just so cool that you know Sandra thought of Polaroids, and I was like, yes, Polaroids, of course.
• 14:53
  SPEAKER_02: Well, I was fascinated to learn about a little bit about your background that you were a storyboard artist working with directors like Jonathan Demi and Catherine Bigelow.
• 15:01
  SPEAKER_02: Like that's mind-blowing to me.
• 15:03
  SPEAKER_02: Like, what did you learn?
• 15:04
  SPEAKER_02: I'm sure you learned plenty, but you're working with some of the greats.
• 15:07
  SPEAKER_02: Like, what was that like and how did that influence you?
• 15:10
  SPEAKER_03: I actually love doing storyboards.
• 15:12
  SPEAKER_03: You know, I went to a comic book school, so I started doing comic books first, but I loved cinema and I really wanted to participate in the filmmaking process.
• 15:20
  SPEAKER_03: So I started to do storyboards, and of course, you know, I had come from a big family of filmmakers.
• 15:26
  SPEAKER_03: My mom, my aunt, my dad, her husband, aunt and uncles, everybody is a director.
• 15:30
  SPEAKER_03: It's a nightmare.
• 15:31
  SPEAKER_03: But I thought I'm gonna do storyboards, and I came to LA, you know, uh, because it was the place for the storyboards.
• 15:37
  SPEAKER_03: Yes, that's what you do.
• 15:38
  SPEAKER_03: You come to Hollywood, right?
• 15:40
  SPEAKER_03: And yeah, I was lucky enough to meet all those great people, but I think actually, I mean, the work with Jonathan Demi, for example, I mean, he doesn't need he did never needed storyboards, but he just liked having me around, I think was fine.
• 15:50
  SPEAKER_03: Catherine Big Guy worked on a commercial, so it was also a bit different of an experience.
• 15:54
  SPEAKER_03: Also, I did a commercial of Miller Bureau with Alfonso Quadron, that was fine.
• 15:58
  SPEAKER_03: Also somehow I think that what made me really want to direct is working with the Lesbut directors.
• 16:06
  SPEAKER_03: You know, I'm not gonna name names, but I also did some sure, sure.
• 16:11
  SPEAKER_03: People who were not, you know, Jonathan Demi or Catherine Big Lower, sure, sometimes first-time directors, and I thought, Jesus, you know, like I I those guys don't know anything about making films, and I know so much more about it.
• 16:23
  SPEAKER_03: So I should just try it.
• 16:24
  SPEAKER_03: I should just not be afraid of trying it myself.
• 16:27
  SPEAKER_03: That was the journal thing.
• 16:29
  SPEAKER_01: Well I thought the film was especially good at making oppression feel ordinary before it becomes violent.
• 16:35
  SPEAKER_01: Do you think that normalization is the most frightening part of the whole thing, of the movie in general and or in life?
• 16:42
  SPEAKER_03: I think so.
• 16:43
  SPEAKER_03: Maybe you're right.
• 16:44
  SPEAKER_03: I think I started this, you know, since it was so many years ago.
• 16:48
  SPEAKER_03: We thought that we just started doing the film as a kind of a reminder.
• 16:52
  SPEAKER_03: How does it feel to be uh living in a totalitarian regime?
• 16:56
  SPEAKER_03: And since we started the film, we became unfortunately more and more you know relevant somehow.
• 17:03
  SPEAKER_03: And more and more countries are sliding slowly towards totalitarism again, which is you know super scary.
• 17:11
  SPEAKER_03: But it's because I think history forgets and people forget.
• 17:14
  SPEAKER_03: We have like a half a generation memory span, you know.
• 17:18
  SPEAKER_03: The old generations they were young, but then they have this nostalgic idea about how it felt to be in the communist times, for example.
• 17:25
  SPEAKER_01: Right.
• 17:26
  SPEAKER_03: Because they were young, you know, and everything was amazing because they were young and healthy and they had their life ahead of them.
• 17:32
  SPEAKER_03: But that's not that doesn't make the system good.
• 17:35
  SPEAKER_03: I guess that's how memory works, right?
• 17:37
  SPEAKER_03: And so we wanted mostly to this to this kind of emotional experience of how it feels to live in a system that takes your choices away from you, you know, your life choices.
• 17:48
  SPEAKER_03: Just simple everyday choices, but they're still your own to make.
• 17:52
  SPEAKER_03: And this kind of system takes things away from you.
• 17:55
  SPEAKER_03: It's these little freedoms that we take for granted and they disappear from one day to the other.
• 18:00
  SPEAKER_03: So this was exactly about making a movie about how it felt like to lose this freedoms.
• 18:06
  SPEAKER_03: And I think the second thing really important for me was exactly about finding this empathy towards your neighbor in the big sense of the world, not just your family or your neighbor across the hole from you, but other people, other people that may seem foreign to you, but they still are the same people with the same angst and problems.
• 18:25
  SPEAKER_03: So it was about finding empathy towards your neighbor, basically.
• 18:29
  SPEAKER_03: These are very, very serious things.
• 18:30
  SPEAKER_03: It's also, I think the film is also just entertaining and fun to watch, I hope.
• 18:35
  SPEAKER_03: It's not only about like the serious, you know, subject matters.
• 18:38
  SPEAKER_02: Well, then your movie comes out, you premiere at Toronto, which is a huge festival.
• 18:43
  SPEAKER_02: And so, what's it been like playing to non-Polish people outside of that area?
• 18:48
  SPEAKER_02: Are they resonating with the film?
• 18:50
  SPEAKER_02: And even like younger audiences, like what have you seen as you've been out there with the film?
• 18:55
  SPEAKER_03: It's actually very interesting because uh obviously Toronto was the world premiere, and it was the first time I think we finished the copy of the film, like literally like four days before you know traveling with it to Toronto.
• 19:06
  SPEAKER_03: So I haven't actually seen the finished film on a big screen ever.
• 19:12
  SPEAKER_03: I saw like pieces of it, you know, we had a screening for color correction and a screening for, but not never everything together.
• 19:18
  SPEAKER_03: It was really, really interesting for me.
• 19:20
  SPEAKER_03: And of course, some of some Polish people came to the screenings as well, but not so many at all.
• 19:25
  SPEAKER_03: The the response was extremely emotional and really, really good.
• 19:29
  SPEAKER_03: This one young woman from the audience who has a Polish background stood up and she was crying, and she said that she understands for the first time what her parents told her about.
• 19:40
  SPEAKER_03: She heard about the history, what happened, and the communist times, and there was no food, blah, blah, blah, boring for a you know, for a young girl that didn't experience that.
• 19:50
  SPEAKER_03: This movie gave her like this emotional layer to uh the facts, to like cold facts that were just a bit boring to her.
• 19:58
  SPEAKER_03: But I I think the story is more universal than just the historical side of it.
• 20:01
  SPEAKER_03: I hope it talks about it, could be anywhere, it could be anywhere and anytime, really.
• 20:06
  SPEAKER_03: It could happen, especially now we travel, you know, to some countries on a holiday, and suddenly, you know, you wake up in the and there's a coup or something that can happen to any of us.
• 20:15
  SPEAKER_03: I think it's a more universal survival story, a kind of like a post-apocalyptic survival story in the same.
• 20:23
  SPEAKER_02: Cassie, I had to ask you, did you enjoy the screening?
• 20:26
  SPEAKER_02: It's your first time to watch it.
• 20:28
  SPEAKER_03: Oh my god, it was I was so stressed, it was horrible, horrible.
• 20:32
  SPEAKER_03: I I but you know, the second, the third one were much nicer.
• 20:36
  SPEAKER_02: Okay, calm down.
• 20:38
  SPEAKER_03: Yeah, the first one is super scary always, but that's normal.
• 20:41
  SPEAKER_03: That's why I can't do theater, because if you do a theater play, every show is scary because you never know what's gonna happen.
• 20:46
  SPEAKER_03: At least with a film, it's finished, it's always the same.
• 20:49
  SPEAKER_01: Cassie, I think it would probably be time for the segment that we do on every show called Quick Cuts.
• 20:55
  SPEAKER_01: And it's just 10 rapid fire questions that we're gonna answer.
• 20:58
  SPEAKER_01: It's not about the movie.
• 21:00
  SPEAKER_01: That's even worse.
• 21:01
  SPEAKER_01: No, it's very light, it's about the theatrical experience of going to the movies, basically.
• 21:05
  SPEAKER_03: As long as you don't ask him about my favorite film.
• 21:07
  SPEAKER_01: What?
• 21:08
  SPEAKER_03: No, because I have a skate.
• 21:11
  SPEAKER_02: We skate around that question.
• 21:12
  SPEAKER_02: We skate around that.
• 21:13
  SPEAKER_03: Top 100 list.
• 21:14
  SPEAKER_03: I have a top thousand list in the particular one.
• 21:16
  SPEAKER_02: Me too.
• 21:17
  SPEAKER_02: Believe me, that's impossible.
• 21:18
  SPEAKER_02: No, we don't make you uh do that.
• 21:19
  SPEAKER_02: This is much.
• 21:20
  SPEAKER_02: It's called quick cuts, it's like first instincts.
• 21:23
  SPEAKER_02: If you get it, it's it is rapid fire and it's fun, and we kind of do it at the end of every episode, so it's kind of nice to compare.
• 21:29
  SPEAKER_02: Super easy.
• 21:30
  SPEAKER_02: You cannot fail.
• 21:31
  SPEAKER_02: Jason, go for it.
• 21:33
  SPEAKER_02: Okay.
• 21:34
  SPEAKER_02: Popcorn or candy?
• 21:36
  SPEAKER_01: Popcorn, butter or no butter.
• 21:38
  SPEAKER_03: Oh, sweet popcorn.
• 21:41
  SPEAKER_03: Oh in France, you get like the caramel popcorn is the best.
• 21:44
  SPEAKER_02: Oh, that does sound good.
• 21:46
  SPEAKER_01: Isle seat or center seat.
• 21:49
  SPEAKER_03: Center.
• 21:50
  SPEAKER_01: How many trailers are too many?
• 21:53
  SPEAKER_03: There's not a number of too many trailers.
• 21:56
  SPEAKER_03: And sometimes they're better than the phone, so let's keep them as long as possible.
• 22:02
  SPEAKER_02: Sometimes they have matinee or late night screening.
• 22:07
  SPEAKER_03: Both.
• 22:08
  SPEAKER_02: Okay.
• 22:09
  SPEAKER_02: That's our first movie.
• 22:10
  SPEAKER_01: Whenever your favorite movie theater either when you were little or today?
• 22:16
  SPEAKER_03: I have a very favorite one in Paris called the Action Christine.
• 22:21
  SPEAKER_03: It's a very tiny arthouse theater that plays like old films and like retrospectives.
• 22:26
  SPEAKER_03: You can like for one a week, you can watch Old Bergman, for example, of course.
• 22:29
  SPEAKER_03: So it's really cool.
• 22:30
  SPEAKER_03: It's really cool.
• 22:31
  SPEAKER_03: It's in the 60s, it's very nice.
• 22:33
  SPEAKER_02: Very cool.
• 22:35
  SPEAKER_02: First movie you remember seeing in a theater?
• 22:38
  SPEAKER_03: Oh, um uh it's uh Klaus Kinski as uh Nosferatu.
• 22:44
  SPEAKER_01: Oh, oh that's a great one.
• 22:46
  SPEAKER_01: That's wow.
• 22:47
  SPEAKER_03: It was the scariest shit I ever seen in my life.
• 22:50
  SPEAKER_03: I'm sure it was, and uh it was traumatic, and uh the next day I went to watch it again.
• 22:56
  SPEAKER_01: There you go.
• 22:57
  SPEAKER_01: What's the movie you've seen the most times in a theater?
• 23:00
  SPEAKER_03: In the theater, yes, important uh distinction.
• 23:03
  SPEAKER_03: I think that would be Star Wars.
• 23:05
  SPEAKER_02: Yeah, yeah.
• 23:08
  SPEAKER_02: Great.
• 23:09
  SPEAKER_02: Now, what was the last movie you saw in a theater?
• 23:12
  SPEAKER_02: Besides your own.
• 23:13
  SPEAKER_03: This is so embarrassing.
• 23:14
  SPEAKER_03: I've just been to the theater a couple of days ago.
• 23:16
  SPEAKER_03: What was it?
• 23:17
  SPEAKER_03: Oh, yes, I went to see the second part of uh the goal.
• 23:22
  SPEAKER_03: The French did this really big saga two-part movie about uh General de Gaulle.
• 23:28
  SPEAKER_03: Oh, and I just went to see part two.
• 23:30
  SPEAKER_01: And this last question thumbs up or thumbs down on the last movie you saw?
• 23:34
  SPEAKER_03: Very, very cool movie.
• 23:36
  SPEAKER_03: Both uh, you know, it was like five and a half hours, the both parts together, but they were really cool.
• 23:41
  SPEAKER_03: Really cool.
• 23:42
  SPEAKER_02: Will there be a third?
• 23:43
  SPEAKER_03: No.
• 23:44
  SPEAKER_03: Okay, that was like a two-part one.
• 23:46
  SPEAKER_03: Okay, it's a two-parter, it was just the world, just the second world war.
• 23:49
  SPEAKER_02: Okay.
• 23:50
  SPEAKER_03: So it's very, very cool film, very like funny and you know, spectacular.
• 23:54
  SPEAKER_03: And no, I really enjoyed it.
• 23:57
  SPEAKER_02: Well, speaking of that, you survived quick cuts, Cassia.
• 24:00
  SPEAKER_02: So great job there.
• 24:01
  SPEAKER_02: Okay, cool.
• 24:02
  SPEAKER_03: Thank you.
• 24:03
  SPEAKER_02: Now we have just one more question, and I'll let Glenn take it away.
• 24:07
  SPEAKER_02: It's called The Final Cut.
• 24:08
  SPEAKER_01: The main character, Joan, begins the film believing she understands the world around her and gradually discovers how little she actually understands it.
• 24:16
  SPEAKER_01: What do you hope an audience questions about its own certainty after spending you know two hours with her?
• 24:24
  SPEAKER_03: I hope for everything.
• 24:25
  SPEAKER_03: I hope they get to really ask questions about you know about their life right now, and especially about where they want this life to go.
• 24:33
  SPEAKER_03: I think the future.
• 24:35
  SPEAKER_03: The future maybe it's a question to think about.
• 24:38
  SPEAKER_01: Yeah, definitely.
• 24:39
  SPEAKER_02: Well, Cassie, this has been amazing.
• 24:41
  SPEAKER_02: And if you could please tell people where they can see Winter of the Crow.
• 24:46
  SPEAKER_03: You can watch Winter of the Crow in New York at the Quad and then in LA at the Lumier, Beverly Hills, and then Philadelphia, and then I hope to all over America.
• 24:56
  SPEAKER_03: Worldwide.
• 24:56
  SPEAKER_03: So go go see it.
• 24:57
  SPEAKER_03: Worldwide for sure.
• 24:59
  SPEAKER_03: And in the UK and Ireland, you know, on the sixteenth as well.
• 25:01
  SPEAKER_01: So nice.
• 25:03
  SPEAKER_01: Well, Casia, thanks so much for joining us.
• 25:04
  SPEAKER_01: It was a pleasure.
• 25:06
  SPEAKER_01: Really love the movie, and thanks so much for for taking us behind the film.
• 25:10
  SPEAKER_03: Thank you guys.
• 25:11
  SPEAKER_03: Thank you so much.
• 25:11
  SPEAKER_03: It was a pleasure talking to you guys.
• 25:13
  SPEAKER_03: Thank you.