WEBVTT

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<v Speaker 1>Oh he is Bote. It's showtime.

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<v Speaker 2>People say good money to see this movie.

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<v Speaker 3>When they go out to a theater, they want cold sodas,

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<v Speaker 3>hot popcorn, and no monsters.

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<v Speaker 1>In the Protection Booth, everyone pretend podcasting isn't boring.

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<v Speaker 4>Done it off.

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<v Speaker 1>These fumes.

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<v Speaker 2>It's surreal.

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<v Speaker 1>We're getting too high, does it?

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<v Speaker 4>When my wife has gone away over from La it's

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<v Speaker 4>a belated honeymoon.

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<v Speaker 2>Here's to you.

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<v Speaker 4>Welcome aboard.

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<v Speaker 1>I guess it might just be us.

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<v Speaker 4>Hi, your timing is perfect. Champagne's the quickest way to

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<v Speaker 4>escape your problems.

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<v Speaker 1>You momases, you don't remember me?

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<v Speaker 3>Really?

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<v Speaker 1>What are you talking about?

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<v Speaker 2>How you're not getting away with this?

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<v Speaker 5>May day?

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<v Speaker 4>May day?

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<v Speaker 2>We have to get to that road.

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<v Speaker 6>We're going ahead.

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<v Speaker 1>Hold on, are you crying not?

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<v Speaker 2>Hey, folks, Welcome to a special episode of The Projection Booth.

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<v Speaker 2>I'm your host Mike White. On this episode, I'm talking

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<v Speaker 2>with Claudio Fay. He is the director of the new

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<v Speaker 2>film Turbulence, which is now currently available for your rental

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<v Speaker 2>and viewing pleasure. It is a thriller that is set

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<v Speaker 2>aboard a hot air balloon. Had a great time talking

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<v Speaker 2>with mister Faye, and I hope you have a great

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<v Speaker 2>time listening to it. Enjoy the interview. Can you tell

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<v Speaker 2>me a little bit about your journey into filmmaking, because

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<v Speaker 2>I know you've done a little bit of a lot

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<v Speaker 2>of things.

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<v Speaker 1>I have a story that many filmmakers have where I

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<v Speaker 1>was thirteen or fourteen years old and discovered that you

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<v Speaker 1>can do short films with a video camera and the

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<v Speaker 1>first short fie that I made, which was with toys,

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<v Speaker 1>and it immediately a light went on and I'm like, oh,

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<v Speaker 1>this is what I want to do for the rest

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<v Speaker 1>of my life. Little did I know I got myself

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<v Speaker 1>into but it stuck. Yeah.

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<v Speaker 2>I saw that you not only direct and produce, but

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<v Speaker 2>you also do visual effects.

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<v Speaker 1>Is that right? My movies always have a good amount

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<v Speaker 1>of visual effects in him. And there was a phase

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<v Speaker 1>where I did help out with friends with visual effects

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<v Speaker 1>because I just had a natural knack for it. But

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<v Speaker 1>my passion definitely lies in directing whenever I get a

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<v Speaker 1>chance to do it.

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<v Speaker 2>What is it that attracts you to certain projects because

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<v Speaker 2>you have such a diverse body of work.

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<v Speaker 1>To be perfectly blunt and pragmatic about it, it's whatever

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<v Speaker 1>I get to do, not not whatever I get to

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<v Speaker 1>do of course I do turn things down that don't

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<v Speaker 1>connect with me, But I like the idea that I

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<v Speaker 1>can get myself into things that I'm optimiliar with and

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<v Speaker 1>explore and find the discover new things. I think curiosity

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<v Speaker 1>is the thing that is great to be able to

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<v Speaker 1>live in your job and as a director, if you're

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<v Speaker 1>not curious, then I think give the all the place.

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<v Speaker 1>So discovering new things and exposing myself to new challenges

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<v Speaker 1>with each movie is part of the reason why I'm

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<v Speaker 1>doing this.

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<v Speaker 2>There are a lot of challenging titles on your resume,

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<v Speaker 2>and how do you follow up, Paul Verhoven do Holloman two.

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<v Speaker 1>That's a challenge? Yeah, that was a huge job. Again,

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<v Speaker 1>it was an opportunity that was given to me. And

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<v Speaker 1>at that point we're going, oh, if they allow me

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<v Speaker 1>to do this movie, of course I will. And then

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<v Speaker 1>inside the process he goes, oh, my god, how do

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<v Speaker 1>I how do I do this and not make a

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<v Speaker 1>completely fool of myself Because we're talking Paul Verhoven. It

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<v Speaker 1>is one of the one of the most one of

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<v Speaker 1>the best, smartest, most celebrated filmmakers ever. And then we're

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<v Speaker 1>given like a tenth of the budget to a follow

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<v Speaker 1>up movie a hacking one succeed, But these are the

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<v Speaker 1>challenges that sometimes are what this is all about. Well,

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<v Speaker 1>it feels too.

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<v Speaker 2>That you're exploring space a lot, especially your last film

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<v Speaker 2>before Turbulence with No Way Up. People are trapped in

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<v Speaker 2>the space and Turbulence very similar as far as they're

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<v Speaker 2>just being this small space in your bottom of the

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<v Speaker 2>ocean up in the great outdoors. How is that? As

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<v Speaker 2>are you throwing up challenges for yourself when you're working

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<v Speaker 2>with Andy Mason on these projects.

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<v Speaker 1>It originated with Andy I having had a great time

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<v Speaker 1>on No Way Up. And he also wrote and note

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<v Speaker 1>wrote and produced No Way Up. So after all we

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<v Speaker 1>up to call me up? So how about we do

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<v Speaker 1>a follow up movie on a hot air balloon? You're crazy,

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<v Speaker 1>but yeah, and I think that's the pee. That's a

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<v Speaker 1>big part of the appeal to see can we create

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<v Speaker 1>a story in such a confined space as big you

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<v Speaker 1>ten by ten and four people in it. It's a box.

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<v Speaker 1>And granted the box travels so it goes through quite

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<v Speaker 1>epic landscapes and is on our journey, but that aside,

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<v Speaker 1>it's four people in a box, and I restrict myself

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<v Speaker 1>from cutting away to anything else. I'm always there, I

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<v Speaker 1>can I'm stuck. He has the whole story, and then

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<v Speaker 1>that and then taking that on board and understanding how

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<v Speaker 1>can we make this interesting. It reminded me of the

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<v Speaker 1>movies that I a movie, a specific movie, or movies

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<v Speaker 1>that I had, or such as Dead Calm if you

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<v Speaker 1>remember that, the philips into a Noise and I call

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<v Speaker 1>Kim and Sam Neil three characters on a boat to

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<v Speaker 1>the most part of the movie, and it's fantastic grip

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<v Speaker 1>me because these characters are really interesting and you could

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<v Speaker 1>explore who they are and what the layers are and

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<v Speaker 1>what they're holding from each other. And the same was

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<v Speaker 1>the case with Turbulence. That was the goal as right.

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<v Speaker 1>So that's a tremendous challenge as a filmmaker to restrict

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<v Speaker 1>yourself that way and see if you can make it

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<v Speaker 1>interesting and also inevitably maybe they could bear it to

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<v Speaker 1>no way up. But similar in the sense that people

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<v Speaker 1>were stuck in a place, but these sharks coming in.

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<v Speaker 1>Sharks an external threat, which is fine, but it puts

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<v Speaker 1>you in a certain corner of a genre and a

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<v Speaker 1>certain trope. Now this one doesn't have any shark. There's

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<v Speaker 1>no sharks. I'm thick. The threat comes from within. The

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<v Speaker 1>threat comes from the characters, and characters are the elements

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<v Speaker 1>that propelled the story, that caused the story to happen

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<v Speaker 1>in the first place. And this is actually a character

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<v Speaker 1>driven story by definition. So I think that was interesting

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<v Speaker 1>to me. It was different from what I had done before.

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<v Speaker 1>And I knew that I had to find really good

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<v Speaker 1>actors because that's all I had. Yeah, I had to

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<v Speaker 1>dolomite and all that, sure, but that's icing under cake.

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<v Speaker 1>I had the actors, and in a little bit, I

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<v Speaker 1>know that I didn't have good actors. I had greats.

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<v Speaker 1>That was then reading a lot of fun.

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<v Speaker 2>So how does the project come together for you? You mentioned

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<v Speaker 2>talking with Andy as far as getting the follow up

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<v Speaker 2>to No Way Out? How are you going to do

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<v Speaker 2>a sequel to that? But once you talk with him, like,

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<v Speaker 2>how does the project proceed from there?

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<v Speaker 1>That is probably really a question for Andy because he

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<v Speaker 1>has this, he works, he has his own sort of

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<v Speaker 1>superpower to just will things into existence. I tell you,

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<v Speaker 1>it's gotten so hard to get a movie made. It's

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<v Speaker 1>often frustrating and difficult to keep your good spirits on

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<v Speaker 1>in this sort of industry. Where things are getting so

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<v Speaker 1>difficult to get, so many obstacles.

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<v Speaker 2>Thrown your way.

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<v Speaker 1>But Andy has a way of just setting his mind

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<v Speaker 1>to He also has a talent and knowledge and the

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<v Speaker 1>company and all of that behind himself that he mastered

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<v Speaker 1>over the years. Practically speaking, you do pre sales. You

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<v Speaker 1>put a package together which consists of the script, a

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<v Speaker 1>couple of actors, and then you go to foreign sales

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<v Speaker 1>markets and you secure foreign sales and give you a

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<v Speaker 1>certain amount of money if the movie gets made. So

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<v Speaker 1>with those contracts, you go to a bank or a

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<v Speaker 1>financier who cash flows the project and also gets some

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<v Speaker 1>on the top on top of it as a premium

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<v Speaker 1>because it's high risk money. And then you combined it

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<v Speaker 1>with tax credits and shoot it in places where you

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<v Speaker 1>do get tax credits, and you gobble it together and

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<v Speaker 1>it falls apart a couple times and then resurrects, and

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<v Speaker 1>then you hope for the best and pray. It's a

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<v Speaker 1>very nerve wracking process often til you actually start rolling

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<v Speaker 1>cameras and it's fraught with lots of pitfalls, and then

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<v Speaker 1>of course he goes, oh wow, this is so much

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<v Speaker 1>money we had to get, And then you're starting them,

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<v Speaker 1>but it's nowhere near enough money. Every is what that means.

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<v Speaker 1>We have twenty two days to shoot. This is how

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<v Speaker 1>I'm supposed to do this, and everybody expects higherate quality Blois,

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<v Speaker 1>but I have twenty two days. And yes, we're trying

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<v Speaker 1>our best, and you have the best people. It's a

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<v Speaker 1>constant battle, which keeps our lives interesting.

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<v Speaker 2>So how and where do you shoot this? Obviously you're

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<v Speaker 2>talking about the Dolomites, but you're not flying people up

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<v Speaker 2>and a gondola and shooting them under a hot air balloon.

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<v Speaker 1>Yeah, you saw through that. We did shoot in the Dolomites,

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<v Speaker 1>but we did go with a helicopter and acquired all

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<v Speaker 1>the background plates and with very complicated aerial rig with

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<v Speaker 1>an array of cameras that lookstraight sixty degrees, and we

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<v Speaker 1>flew through the path that the balloon eventually takes in

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<v Speaker 1>various shapes and forms. So that allowed us to at

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<v Speaker 1>any given time look every everywhere in the sky except

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<v Speaker 1>for straight up and straight down. But we could look

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<v Speaker 1>everywhere and amass all this crazy footage. And then we

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<v Speaker 1>start pre production in London and shot almost the entire

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<v Speaker 1>movie on assass Sate to twigging them studios in twicken

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<v Speaker 1>Is in London, and we had a basket that was

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<v Speaker 1>suspended in the air inside the studio and we do

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<v Speaker 1>waft wind and blow wind and all the rest of it,

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<v Speaker 1>but shot it against blue screen, and then that required

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<v Speaker 1>I think an unusual amount of imagination from the actors

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<v Speaker 1>as well as the filmmakers to always understand where we're

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<v Speaker 1>at within the journey, what the ranges that were flying

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<v Speaker 1>up against, what the weather is, how it changes. Because

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<v Speaker 1>if you look and you mentioned that, there's a there's effort,

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<v Speaker 1>there's a there's this theme of space in my last

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<v Speaker 1>two movies. Anyways, we think it's true. It's the manipulation

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<v Speaker 1>of space that I think is the definition of what

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<v Speaker 1>a director does, compress space and time into a different form.

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<v Speaker 1>So in this sense, if you look at it, they

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<v Speaker 1>take off in the morning and it's seventy minutes later,

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<v Speaker 1>without ever having a time jumped in the movie, they

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<v Speaker 1>land and it's night. So somewhere in there all day

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<v Speaker 1>passes and then the weather changes and it has to

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<v Speaker 1>be seamless act Like I said, I can never cut away.

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<v Speaker 1>I'm always there, so themeless transitions. In essence, it's just

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<v Speaker 1>one big scene, right, there's not a death to nail,

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<v Speaker 1>so how to break it up and how to create

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<v Speaker 1>these transitions. It was very difficult for the actress also

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<v Speaker 1>to bring their imaginations into this and understand the level

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<v Speaker 1>of intensity at every given point in time. So that

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<v Speaker 1>that was the mechanicals of our challenge of it all.

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<v Speaker 2>Once you get those actors and that gondola, are you

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<v Speaker 2>allowed to shoot chronologically or do you still have to

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<v Speaker 2>jump around from seeing the scene.

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<v Speaker 1>So I wish we'd have done the movie chronological. One

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<v Speaker 1>would think that this kind of a movie is a

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<v Speaker 1>movie that should be able to be shot chronologically. We

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<v Speaker 1>couldn't do this because of actor availabilities. So that added

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<v Speaker 1>another complication. Okay, so how badly is she aarbs? We

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<v Speaker 1>haven't shot to burn yet. We tried to keep it

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<v Speaker 1>as chronological as possible, but it was not all the

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<v Speaker 1>way through, So that add another that would have been

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<v Speaker 1>something that I could have lived without. I would have

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<v Speaker 1>loved to be able to shoot it again, but it's

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<v Speaker 1>just reality. They're all busy people that they're all working

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<v Speaker 1>other things to go with it.

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<v Speaker 2>Well, and I imagine two with that gondolas that you

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<v Speaker 2>have to be able to have pull away so that

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<v Speaker 2>you can get the camera in there along with people.

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<v Speaker 2>Again that Patonus has to be incredible.

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<v Speaker 1>We said, together with the cinematographer Jimi Renoso, is a

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<v Speaker 1>very close friend of mine, we said, we want to

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<v Speaker 1>be inside of it. So the smaller the camera is,

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<v Speaker 1>the smaller the footprint of a lighting setup is, the

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<v Speaker 1>better it is. The more we can be fluidly inside

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<v Speaker 1>the circle of action and look every which way at

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<v Speaker 1>every given point in time, The more we really counteract

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<v Speaker 1>the in built, inherent artificiality of the whole concept, so

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<v Speaker 1>that we're hopefully inside the characters enough for people to

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<v Speaker 1>go with the characters and be interested in them. And

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<v Speaker 1>because again it's all about the level of layers or

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<v Speaker 1>the rooting we have in the characters. Right, It's almost

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<v Speaker 1>like we watch a stage play that has to be

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<v Speaker 1>interesting regardless of what the surroundings are, So try to

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<v Speaker 1>capture that and really depending to building it on the

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<v Speaker 1>characters was the goal.

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<v Speaker 2>I imagine you were talking about the budget. I don't

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<v Speaker 2>imagine there was enough to shoot this with the big

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<v Speaker 2>volume going on around it.

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<v Speaker 1>We consider that at this is it's why the movie

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<v Speaker 1>fell apart before it kind of resurrected the beginning, there

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<v Speaker 1>was this sort of desire by a bit volume metric

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<v Speaker 1>company to shoot this as a almost like a show

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<v Speaker 1>piece for what virtual production can do. I have come

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<v Speaker 1>to understand that this would have been the death of

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<v Speaker 1>this movie anyways, because I believe, and maybe that's too

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<v Speaker 1>big a statement, or maybe of suddenly misinformed or uninformed

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<v Speaker 1>in our world, I know we would have shot the

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<v Speaker 1>wall and not the actors. The wall still comes, and

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<v Speaker 1>I have shot like against the Walls still comes with

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<v Speaker 1>a heavy burden of a huge crew that it's required,

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<v Speaker 1>and it does limit you in terms of what cameras

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<v Speaker 1>and what lenses and what kind of camera movies you

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<v Speaker 1>can use. And I go this enough limitation, and I

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<v Speaker 1>think there's a danger that technology which is supposed to

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<v Speaker 1>liberate you, actually restricts you in ways that it shouldn't.

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<v Speaker 1>And I think every movie, we go to the movies

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<v Speaker 1>because we want to see characters, we want to be people,

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<v Speaker 1>and that the most important thing, the most valuable thing

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<v Speaker 1>for a filmmaker on the day. So if I can't

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<v Speaker 1>focus on that and can't keep if i'm that's what

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<v Speaker 1>I'm supposed to fill, not the background, and rather a

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<v Speaker 1>duty background and posts. Now with all the money in

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<v Speaker 1>the world would have been great.

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<v Speaker 2>Well, how was it working with your actress? Like you said,

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<v Speaker 2>you had to have very good actress on this to

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<v Speaker 2>be able to pull off being stuck with them for

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<v Speaker 2>so long.

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<v Speaker 1>I felt incredibly fortunate with the four then I will, Yeah,

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<v Speaker 1>what can I say? They're all legends, They're fantastics, and

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<v Speaker 1>I got to the point where they gave me still

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<v Speaker 1>much for this movie. Olga in the Starmut Olga, Olga.

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<v Speaker 1>I haven't seen her being bad in any he Ever,

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<v Speaker 1>he's amazing and I understand why and how she does it.

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<v Speaker 1>She comes all her heart, She gives you everything, and

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<v Speaker 1>it's just wonderful. And she has a way of even

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<v Speaker 1>playing a character. If you look at her character, very

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<v Speaker 1>flawed character, very strange, just decisions, and she somehow takes

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<v Speaker 1>them on board rather than questioning. She finds a way

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<v Speaker 1>to embrace those and make him part of her character

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<v Speaker 1>and gives you all the emotion that you could ever

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<v Speaker 1>wish for. Then Jeremy as this really tricky part of

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<v Speaker 1>being a jerk, but there's many Copona fam that make

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<v Speaker 1>him not very sympathetic. Yet he's the one that we

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<v Speaker 1>root for the most part of the movie or want

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<v Speaker 1>to find out. We need need him to be interesting

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<v Speaker 1>to us, and he finds this fine line of walking,

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<v Speaker 1>this fine line of not having us exactly what is

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<v Speaker 1>writing him. And then we have Hair who's exception an

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<v Speaker 1>exceptional actress, and she's able to do things like She's

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<v Speaker 1>able to do things in a natural way that I

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<v Speaker 1>think is magical, as like uncanny. I don't know how

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<v Speaker 1>she does it, but all. And then of course we

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<v Speaker 1>have Kelsey, who's like an old hand. He knows exactly

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<v Speaker 1>what these kinds of movies make and need, and he

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<v Speaker 1>delivered any a gentle person in the process. So I

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<v Speaker 1>felt in extremely good hands. And they allowed me to

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<v Speaker 1>communicate with the characters, now with the not with the actors.

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<v Speaker 1>I spoke with the I felt like I knew the characters,

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<v Speaker 1>and by extension, that told me where to put the

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<v Speaker 1>camera in order to keep the story interesting. So I

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<v Speaker 1>felt they Yeah, I felt incredibly blessed with this cast.

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<v Speaker 2>It talks about how difficult it is to make a

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<v Speaker 2>movie in today's environment, and I'm curious, how many projects

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<v Speaker 2>do you have going? What are you waiting on to

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<v Speaker 2>catch fire? And next or do you just work on

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<v Speaker 2>one project at a time.

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<v Speaker 1>That's a tricky thing. I know that there's some directors

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<v Speaker 1>who managed to do multiple movies and multiple stages at

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<v Speaker 1>any given time. I find that very hard because I

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<v Speaker 1>find once I am in the middle of the movie,

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<v Speaker 1>it's all consumed me. I can't do anything. You have

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<v Speaker 1>ass It takes up absolutely twenty four hours of my

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<v Speaker 1>day and certainly all of my bandwidth. So you both

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<v Speaker 1>so deep into these movies and all through app With

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<v Speaker 1>this one particularly, post was very consuming, very difficult, and

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<v Speaker 1>then challenging. So I just don't know how I would

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<v Speaker 1>find time in the day to focus on putting something

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<v Speaker 1>else into prep. Having said that, I did, in fact,

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<v Speaker 1>because of overlapping schedules, just finished a movie in Switzerland

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<v Speaker 1>to where I shot at European TV movie in the

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<v Speaker 1>summer while this one was still the end of post production,

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<v Speaker 1>and that brought me to the brink of what I

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<v Speaker 1>could do. I need a little bit of a break

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<v Speaker 1>until the end of the year, and then you never

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<v Speaker 1>quite know. I've been lucky with the last two or

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<v Speaker 1>three movies that they come about fairly quickly, but it

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<v Speaker 1>can easily go the other way where you think something

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<v Speaker 1>instead of going to prep next month, and then two

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<v Speaker 1>years later he's still not in prep. So it's difficult, sir.

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<v Speaker 2>Best of luck with turbulence. And I can't wait to

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<v Speaker 2>see the other film that you just directed. So I

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<v Speaker 2>hope you have a great holiday season.

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<v Speaker 1>Thank you so much, Mike. When I pleasure to talk

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<v Speaker 1>to you, thank you. Which I too.

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<v Speaker 6>Big and.

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<v Speaker 3>Flowed among the stars together you went, We got.

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<v Speaker 6>Up and away, my.

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<v Speaker 5>Bas the world's a nicer place by it's nicer things

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<v Speaker 5>about you can't sing the songs and along the silverst.

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<v Speaker 6>I've been away if I have this time you say,

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<v Speaker 6>you said.

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<v Speaker 3>Buy some change, You buy yourself bad.

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<v Speaker 6>Way.

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<v Speaker 3>I've been the oh my change, your dream across this

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<v Speaker 6>By oh me down, didn't didn't te