Every Yorgos Lanthimos Movie, Explained by Yorgos Lanthimos

There is creative control in terms of like,

nobody tells me what I can or cannot do,

apart from reality. [gentle music]

I'm Yorgos Lanthimos.

I've made nine feature films

and we're gonna talk about all of them.

Kinetta. [gentle music]

I was making commercials for a few years.

I started quite young, like 19, 20 years old.

I started directing commercials.

And when I went to film school in Greece, I mean,

there wasn't, and there still isn't

such a great educational system in terms of cinema.

There were very few films being made.

And to think that, you know, like a young person would say,

This is what I'm gonna do in my life,

felt like totally absurd.

So doing commercials was like an indirect way

of being in contact with something

that felt relevant to filmmaking.

And I never thought that I would actually get to make films.

[gentle classical music] [dogs barking]

Since we were making enough money from advertising,

we just decided that we could do it ourselves.

And we didn't need that much.

We just could get a, you know, 16 millimeter camera

and, you know, go to a place with reactors

and just, you know, film stuff.

And we don't need lights, we don't need makeup,

we don't need anything.

You know, we can just do it like that.

You know, whatever we needed,

we had to borrow it from someone, you know,

if I wanted a red car

and I didn't have a friend who had a red car,

like I, we had to pay for a red car

and we didn't have any money.

[birds chirping]

After so many years of doing commercials

and, you know, we just had an aversion to that

and we just wanted to do something totally

rough and so spontaneous in every way.

And I think it was my most fun experience on a film set

because, you know, we're so naive.

We never knew even if anyone was gonna watch that film,

we just did it, you know, for ourselves.

[gravel crunching]

Very early on, I also recorded dance performances

and I was interested in it.

I had friends who were, you know, great choreographers

and so I was really around dance/dance theater early on.

And I guess it influenced, you know,

how I like to approach performance, rehearsals.

It was trying to figure out what it is that I'm,

that doesn't appeal to me in the things that, you know,

constitute, you know, advertising, commercials,

you know, that world, that aesthetic

and trying to figure out what it is

that I am attracted to and how things could be different,

which I guess was to an extreme

because if you start from, I don't like this,

I wanna do something different, you know,

you usually find the other extreme,

which is an interesting and useful, I think, process.

Dogtooth. [gentle music]

While I was working in advertising,

I had met Efthimis Filippou,

who's someone that I worked with on, on many films.

We became really good friends and very close,

and I knew him from advertising.

He was a copywriter and an advertising agency,

and he'd never written a screenplay before.

And, but I, you know, I could see even in the work

that he did there, that he had a very special mind.

Just the stuff that he was coming up with, you know,

for commercials that most of them never got made

or we made them,

and then the clients wouldn't want them,

wouldn't air them.

And I suggest to, to him, you know,

if you wanted to write a screenplay together,

and like, I brought him the idea of Dogtooth,

which was like, you know, like a really simple idea

of what if, you know, there was this family

that raised their kids in a way

that they didn't know that the rest of the world existed.

Mama, [speaking in a foreign language]

When I gave him the idea, he just wrote some scenes,

like five scenes of, you know, what that ignited in him.

It's for this kind of story to work.

You needed certain things to be a certain way

for the premise to work.

So we need to find a certain type of house

that had a fence, which it didn't.

So we had to build a fence.

So all of a sudden we started needing to find resources

that we didn't have to before.

So there was a lot of that going on,

which kind of stressed me out.

And then, I don't know, there's blood and things

and more complicated film stuff

that we needed to just figure out, you know,

how to do with very few resources.

[people barking]

For some reason, I absolutely wanted to shoot

that film on amorphic.

So we had to find a camera for someone

to give us a camera almost for free,

and lenses and amorphic lenses for free.

And we found this camera by this guy who,

you know, had cameras,

but this camera was working a lot

on music videos and commercials.

So they would just fuck up with the lenses

and, you know, they would unscrew them

and swirl them or whatever to do effects.

And so we got the camera and the lenses,

and most of them were like, were like totally outta whack.

And, you know, we were trying to calibrate them

and we just, you know, we didn't know even how to,

and we couldn't.

And there was one lens, the 50 millimeter lens,

that was fine.

So we decided to do the whole film on that lens.

And again, you know, in the process, that was very freeing

because, you know, there are no choices.

There's this, that lens.

Just move the camera around.

That's it.

Like you don't have to make a choice about that,

which frees you to be more focused on other things.

[speaking in a foreign language]

There's a work ethic with the actors and everyone involved.

Like, you know, you just, you know, work

because you love it.

And you know, you can stay for half an hour,

you know, more if you need to in order to make it better,

because all everyone's working towards, you know,

the same goal.

And, you know, everyone's very flexible

and love what they're doing.

And it's not about, you know, money and being paid.

And so it's easier to just, you know, devote your time

and yourself in something that, you know,

everybody's investing in.

[engine humming]

[door slamming]

You know, building a world with rules that, you know,

seem kind of over the top for us

enhances the observation of how people behave

within such a world.

You know, humans need to question the world around them.

And that includes, you know, the structure,

which is constructed by rules, and traditions,

and everyday behavior that becomes a given.

And I find it, I find it interesting

to question a lot of all of those things.

And I don't think there can be progress in any way

without having people questioning,

you know, the state of things

at different moments in time.

[gentle music]

Alps, there was a lot of noise around Dogtooth.

It was something like the appeal and the notoriety.

It in a, in a certain sense, we didn't expect at all.

And I think I had like a strange reaction to it,

the fact that it was like getting all of these awards

in every festival and, you know, starting from Cannes

and it went all the way to the Oscars.

And at that time, you know, to me it wasn't that diverse.

And, you know, it was quite surprising

becoming this thing kind of created like

a weird negative reaction in me.

And then there was all these, you know,

actors contacting me saying they wanna work with me.

And, you know, I got agents

and I went like to meetings in LA

and I didn't know what I was doing there, really.

I felt it was extreme

and I felt it was fake in a way.

So I think my reaction to that was like,

let's not listen to all that and let's just go

and make another film the way we make films.

[speaking in a foreign language]

I think if things came up with the initial idea,

I think there was like a letter that a friend found

under his doorstep of a guy

that was offering his services

as a friend or a companion for, you know, a certain fee

for a certain time.

You know, we started discussing it

and then we, you know, we kind of shifted it to like,

what if you lose someone you love

and you wanna find a way to kind of keep them alive somehow?

And what if there was like this, you know,

group of people that offered that kind of service

to pretend to be, you know, your dead husband,

or wife, or friend.

[speaking in a foreign language]

In this film there were a lot of written scenes

with a lot of people that hadn't acted before.

Friends, people that we, friends of friends.

And that really excited me

and what happened between the actors

and the non-professional actors.

So I try to work with people that have a specific voice

and see how I can integrate that in my way of,

you know, viewing the world and filmmaking.

There's a very interesting tension

between the experienced actors with people

that have never done it before,

because one doesn't know what to expect from the other.

And there's that unpredictability,

and it creates this tension

and energy that wouldn't be there

if it was like two actors,

like knowing how they're gonna do it

and where they're gonna go next.

And so I really love that kind of dynamic.

And, you know, a lot of the people in Alps

that were not actors were like,

there was the waiter from my favorite cafe

and there was a lawyer friend of mine.

Yeah, that was something that I kind of kept

and, you know, try to do in every film at different levels.

[gentle music] The Lobster.

After making three films this way, basically in Greece,

that's why I decided that I, you know,

I needed to have a few more means,

in order to be more in control of the result

of what I wanted to make.

I decided to move to London

and making English language films.

I realized that it was actually more difficult

than I expected to make my first English language film,

The Lobster.

Well, it took a long time to put it together

because maybe some of it was my fault,

but certainly there was a misleading enthusiasm

about my work.

But when I presented The Lobster,

people didn't really react well to it.

They thought that I decided

to make English language films

in order to make like more conventional films.

That was the expectation, I realized.

What we expected was that you're gonna make something,

you know, in English language,

which is, you know, conventional,

but you'll do a little bit of a twist to it

because you are like different.

And it only really managed

to happen when Colin Farrell

and Rachel Weiss got involved.

Are you planning on buying anything else

nice for yourself while we're here?

Yes, contact lens solution and a Parker Roller ball.

I didn't know you were sighted.

I'm shortsighted too.

Now I was working in a totally different structure

in a professional environment in places that were,

there was a film industry

and there were rules funnily enough

that I had to kind of abide by.

I think it was the first or second day on set

where the AD was next to me with his watch

and going like, I go like,

what's wrong with your watch?

Is there something wrong?

Like, what's going on?

And he goes like, you have two more minutes

to finish this scene.

And I was like, what?

I thought he was joking, really.

I mean, my AD was like doing laundry

and driving people around

and like also doing the schedule

and like setting down the tracks

and like, everything, it wasn't like next to me going like,

I have to hurry.

So it was, it was quite shocking.

And you know, I got acquainted

with a different type of mentality,

which is like, you know, this is our job,

but I throughout, you know, making The Lobster,

I just couldn't get over how people that are making films,

which to me was like a gift and magical

and I could never imagine that I could do it

as a real thing.

You know, anyone that's involved,

how could they not care

and how could they not literally gift

two extra minutes to get the shot, you know, right?

But I guess I, you know, I understand that,

you know, with structure and resources,

you know, there needs to be, you know, a set of rules.

Otherwise, like you can go wrong

and there's so many people involved that actually,

you know, do make a living through that.

And, you know, there needs to be a regulation.

Man eats alone. [gentle music]

Well, there's a thing that I don't want to discuss

with actors, what the character is,

how they should do it, what's their background.

I'm not doing any of that,

because I don't wanna limit it.

I don't wanna narrow it down

to something very specific.

I also don't wanna do it

because I wanna be as objective as possible

while I'm watching them perform.

Because I feel like if we've agreed,

oh, this character is this way, so he walks this way

and he speaks that way, then, you know,

we don't have any distance to go.

Like, that's stupid.

That looks terrible.

So if we haven't agreed that,

I don't know what it is that you're bringing,

you know, I can just be almost as an audience member

and go like, okay, come in through the door.

And then I could go like, why are you walking like that?

That's ridiculous.

Like, what are you doing?

[gentle music]

The Killing of a Sacred Deer.

After we finished the screenplay,

I felt that it was more of an American film,

an American story, that it would kind of be

more grounded in a way,

in America felt more a natural place for it.

We were very scared

because we heard all these stories

about how it works in America

and how, you know, restricting it could be.

I mean, it's like with the unions and what you can do,

and you, you can what you can't do

and it's gonna be complicated, da, da, da,

and all of these things.

It works in a different way

and it's more expensive and you know, all that.

But somehow we filmed in Cincinnati,

and it was like the beginning of this period of Cincinnati

becoming like a popular place to make films.

One of the reasons was like,

it had this incredibly state-of-the-art hospital,

which was a key location for the film that was very new.

And some of the floors were still empty.

They weren't being used yet.

Eat a donut. I don't want it, Dad.

You do, but you're afraid your mother and I

will tell you off for eating donuts.

I just had this idea that,

oh, the camera was a presence

that was observing the characters

and would, you know, normally be somewhere high up

looking at them or somewhere really low hiding, you know,

watching these people.

So that was like the first inclination

in order to come up with a set of rules of how are we,

you know, filming this.

I used zooms, you know, quite a bit.

So there was that kind of style reminiscence maybe

of like seventies films or horror films,

which I guess the film flirts with,

like flirts with a genre.

Stop talking. Don't you understand

that you're wasting time

and you don't have much time left?

I said, stop talking. Steven, it is gonna be

better once it's done.

Start over, clean slate.

Don't you get it?

Sometimes I think you're naive, but you can't be naive.

You're a man of science.

The Killing of a Sacred Deer,

for me was my version of a horror mystic kind of film.

But also what happened in the process

of writing the screenplay

was that I realized there were quite a few parallels with,

you know, an ancient Greek tragedy, Iphigenia.

And we, you know, we threw in a couple

of things from that as well,

although we didn't start thinking, you know, let's,

you know, adapt that.

As we were writing the screenplay,

we went like, oh, that kind of is reminiscent

of some aspects of, you know, that.

So I mean the title itself is, you know,

The Killing of a Sacred Deer,

is like, how the story of the tragedy starts

is like this sacred deer killed

and it ignites, you know, a whole war,

and drama and blood shed.

[gentle music] The Favorite.

The Favorite was actually a project

that we were developing for a long time.

Well, even before I was involved, there were many years

of that story being developed with different writers.

And then I started searching

for the appropriate writer to work with on it,

and we discovered Tony McNamara,

who's an Australian writer,

and it clicked again, kind of in a similar way

that I clicked with Efthimis.

I found someone that I felt had a strong voice.

My vision of The Favorite really, you know,

matched his voice.

Seems you have allocated even more money into the abyss.

That is this fool's errand.

Oh yes, we will win, Sarah is sure we will win.

This is the landholders tax.

You have no idea the firestorm of rage

you have set loose in the countryside.

Really, are they angry? Dearest please.

How'd you like my stockings?

Festive.

Very, I was just explaining to the Queen the mistake

the taxes, the war as well.

We should sue for peace.

Oh, Holly you are such a bore.

I really wanted Olivia Coleman

to play the part of the Queen.

And when we scheduled it for production,

she wasn't available.

And I just went,

I don't wanna make this film without Olivia.

Why don't we just, you know, wait for her

and make The Killing of a Sacred Deer,

which is, you know, a screenplay that we have ready.

And, you know, people involved in that

in The Favorite kind of freaked out

that it was like being postponed again, once again

because it was a project that was around for many years.

But I just, you know, I really couldn't think

of anyone else playing that part except Olivia.

Mr. Freeman.

Mr. Morley.

I guess it's my tendency to try and break again rules

and what's been done with the genre before.

And I did look at films that did that.

Like there's, there's also, you know,

apart from Amadeus that I think it's,

you know, incredible, there's The Madness of King George,

who's a great period film made.

Peter Greenaway's The Draughtsman's Contract we looked at,

I mean a lot of the, I think some of the actual wigs

we might have found that were used there

and we made them even, you know, bigger and weirder

What an outfit.

Thank you.

But that kind of minimalism, visually of that film.

But then weirdly enough, I remember showing Robbie,

which was the first time actually working with Robbie Ryan,

this cinematographer, stuff like Possession,

Zulawski's Possession in terms of like

how the camera moves and interacts.

And I started having an interest in,

you know, wider lenses.

It started on The Killing of a Sacred Deer,

you know, having that kind of approach.

And then it went further with The Favorite,

The Queen has decided, Harley, I disagree, a lot.

I would like an audience with the Queen

where I may state my case.

State it to me.

I love a comedy.

Is their cake?

During that time, mind you, there was a rule

of using no artificial lighting

all the way over to The Favorite.

I wanted to maintain that kind of freedom on set.

So the first time I met Robbie Ryan,

I went like, you know, I wanna make this film,

but you know, have in mind I don't use lights,

we just use natural light or candles

or, you know, practical lights.

But I, you know, I don't want any lights on set.

I don't wanna be waiting around when we're, you know,

changing setups to light people's faces and all that.

And you know, Robbie was, you know, game.

Like, he actually took it very seriously

to the point of a few days before shooting

a night scene outside the castle,

he went to me and went like, so, you know, like you said,

we're not using any lights.

How are we gonna shoot outside at night with no lights?

And I go like, Robbie, I mean,

we're gonna get lights for the night scene.

I mean, I meant it as like the general rule.

There is no way of shooting without lights.

To me it was like, so like telling of how he, you know,

devoted he was in like maintaining the rules of the game

that he was like trying to figure out

how we're gonna shoot at night, pitch black

with no lights.

Do it again.

[all cheering]

The Favorite was, you know, Emma Stone enters

and I find, you know, a kindred spirit,

like someone that I communicate

without having to say anything.

You know, we have a similar sense of humor

and it's easy and funny and obviously a great actress

and gets it, and you know, it just feels right.

So by the end of it, we just, you know, told each other,

you know, I really wanna do this again, you know,

and we meant it.

As history has showed.

[gentle music] Poor Things

So Poor Things,

I thought it was perfect for Emma.

She fell in love with it as well.

She fell in love with the character immediately.

That film was, I guess, different in every aspect.

You know, from telling Robbie we're using no lights,

and him going like, we're gonna do a night,

to say to saying this is all gonna be in a studio.

Everything is going is gonna be a set, even exteriors,

the cities, everything will be built.

Thanks madam. [bell pinging]

We're shooting a lot of different stocks.

We're shooting black and white,

we're shooting color negative,

and we're shooting Ectochrome as well.

When we watched the first images

we're like blown away.

We also tested Vista Vision for the first time.

And we shot one scene of Poor Things on Vista Vision,

the reanimation scene that had no dialogue

because, you know, all of the Vista Vision cameras

that we knew that were working, you know,

are extremely loud.

[dramatic music] [electricity buzzing]

But we also pushed, I think the use of, you know,

wide angle lenses as much as we could.

And again, being driven by this

story which felt so otherworldly

and using 40 millimeters, 16 millimeter lenses

on a 35 millimeter camera.

You know, producing those, you know, porthole views

of the world and miniatures and LED walls

and just trying to create this world

mostly being inspired by, you know,

old school analog filmmaking.

Like as it would be, you know, back projections.

Some of the sets were actually, you know, painted backdrops

that we later enhanced in post-production.

So it was like a way of merging, you know,

all this old school type of cinematography,

building those sets, painting the backgrounds,

and then using either stuff that we created,

painted, animated on an LED screen

so that, you know, it's more efficient to film it,

but everything was created by us.

Do you Bella Baxter, take this man as your husband?

Did we miss the part about anyone objecting to this?

Or has that been removed in some kind

of faux modernization of the catechism?

Hello, Victoria.

You look well.

Do you refer to me?

I just worked by researching music,

listening to a lot of music

while I was in the editing room,

trying things and managing to find the exact thing

that felt right for each scene

and for the film as a whole.

Listen to Durskin's first album,

which is very complex, but essentially a pop album,

but had such versatility

in terms of sound and composition.

And I just felt that I, again,

like I found someone

that creatively is extremely interesting

and I'm very, I feel very close to in a way.

[curious music]

The first, you know, demos that he sent to me,

I cried basically.

'Cause it was, you know, again,

another moment of going like, you know this,

I found a person, like he gets it.

This is what he's created

is already as a demo, you know, moving.

So he composed the entirety of the score

before we even shot a frame of the film.

[gentle music] Kinds of Kindness.

Kinds of Kindness came out of the need

to do something different to what we had done with Efthimis.

And I think that at that point we came up with the idea,

why don't we just make a film like a triptych or,

and we didn't know if it was gonna be

like individual stories as it ended up being,

or they would, you know, overlap and show them in parallel.

But I think when I also had the idea

of using the same actors

as we were writing the script,

I kept thinking that it would be interesting

to use the same actors in the different parts.

So that made it clear

that we had to make the stories separate

so that you wouldn't be confused with the same actors

if the stories were were told in parallel

and not one after another.

So that came out of that need of doing something different

with Efthimis and also working, you know, again with Emma

and having the opportunity

to do something different with her.

And also working with other people

that I wanted to work with, like Margaret Crawley

and Jesse Plemons, Willem, that we worked together

on Poor Things.

And he's another, you know, part of the Troop.

Raymond, I've given this a lot of thought

and I can't do what you are asking me.

Again, come in and sit down there

before you speak.

Raymond--

I want you to come in and sit down there

before you speak.

Vivian?

I will leave you two alone now.

I always try to have some time

of rehearsal with the actors.

Sometimes, you know, the period is really short

'cause we don't have them for a long time

and sometimes we do get more.

On The Favorite actually,

we had plenty of time to rehearse.

And also, you know, that's when Emma

became acquainted with the way of,

the way I like to rehearse with the actors,

which is basically not rehearsing the scenes

and the dialogue as they're supposed to be in the film,

but doing the exact opposite.

Kind of deconstructing them,

not think about the character

and how they're gonna do it

and how they're gonna perform,

but going through the lines, while playing games,

while doing silly things

and getting comfortable with each other.

Getting comfortable with making a fool of themselves

in front of everyone

and not care about, you know, how they're perceived

or anything like that.

And at the same time, like ingesting the text,

but unconsciously without thinking about it intellectually.

I think, you know, I just keep saying it's a process

of like just creating this family or group

or troop that just gets bigger and bigger

and someone is added every step of the way.

Should we all go upstairs to the bedroom?

I think it's best we don't go up to the bedroom tonight.

What, we're gonna fuck on the table?

Come on Daniel, it'll be weird.

We'd better be getting home soon.

Liz, you must be tired and I have to be up early.

But everything was wonderful tonight though.

I think you're right.

I think we should leave it for some other time.

Maybe next time.

I'll clean up the plates.

I just can't stand having food in front of me

when I finished eating.

I will help. No, Martha, you sit.

I'll be right back.

No, I want to please.

Thank you.

Just, you know, maintain that kind of enthusiasm

and intimacy with, you know, the actors

and, you know, keeping it as simple as possible

and focusing on the essence of things.

[gentle music] Bugonia.

Bugonia was the first time

that I received a screenplay

and I felt that I wanted to make it,

like almost as it was.

I had never had that experience before.

And I read the script, I got really excited

and I sent it immediately the same night to Emma

and she had the same reaction.

And we very quickly, you know, decided to get involved.

So Will Tracy had written this great script.

It was initiated by Ari Astor and Lars Newtson

that, you know, knew of the original film,

which I didn't know and I hadn't seen and neither had Will.

The great thing was that Will watched the film once

and then he wrote the script

just, you know, by using the premise

and not like going back and trying to make

a faithful remake of that film.

I think he saw the possibilities

and the interest of making something very contemporary

that belonged in America.

Thanks, Tony.

Feel free to leave early.

I mean, unless you're busy or you have things to do.

But feel free if you can, up to you.

I mean, from its genesis,

it was like a contemporary film.

Choosing to build this house

that it takes place was an important decision

instead of like trying and combine different locations

that would be appropriate for the house

and then another for the basement.

And building that house in a realistic manner

was that kind of blending of the worlds.

So we built an actual house with the basement there,

but it was built so it wasn't real,

but it was at the same time.

And there was so, so much detail that went into it.

And especially James Price and his team

included so many details in the house, in the backgrounds,

things that you never see in the film.

You could, you would walk into the house open every drawer,

every pot or whatever,

and there was something in there

that made sense with the world of the film.

And that was so helpful for the actors

like to just go there and feel like it's real.

Incredible.

What is?

Just the detail, the best I've seen.

How can you tell she's an alien?

Well, the signs are obvious.

They did a hell of a job on it,

but the tells are there.

Narrow feet,

then cuticles,

slight overbite.

It was quite important that we decided

to shoot it on Vista Vision when we finally found a camera

that was slightly quieter

than the one we had used before.

You know, using a larger format while filming these,

you know, three people in a very tight environment,

you know, created this conflict

between something iconic and larger than life,

which is a face, a human face,

but within, you know, like a fucked up basement.

So I think again created this sense of

avoiding making the film too literal

because it requires of you a lot of faith in it

while watching it.

And it re it requires of you to make judgements

and decisions about what you believe, what you don't.

So creating it visually a realistic contemporary film,

but with all these heightened details,

I think allows for the viewer to believe in those things.

You're going to say that I'm in some kind of

internet induced auto hypnotic feedback loop

and gatekeepers and norms

and all that weak hegemonic horse.

But that is precisely the limp rhetoric

that you've been instructed to counter

the human insurgency with.

That's the hyper normalized dialectic

by which you've convinced seven and a half billion people,

that they're not your captives.

To keep us believing

in these false institutional [indistinct].

You mean shibilas? That's what I said.

The fact that people are willing to question,

which brings us, you know, to the beginning,

question what the truth is and what reality is,

find proof, question the facts that they're being given

and you know, try and find their own truth.

And I find fascinating that now

that I am kind of in it as well,

that the more technology advances in science,

the more blurred it becomes,

because science has reached a point

like physics and neuroscience.

They have reached a point that they understand more.

But you know, the more they understand,

the more complicated it becomes

and the more you need to believe in something

that's not proven if it makes sense.

So there's all these theories for example,

that, you know, we live in a simulation for example,

which again fascinates me and I'm like, why not?

It makes sense what they're saying, you know,

and it's scientists that say that.

So it's fascinating that, you know,

it's a scientist is asking you

to believe almost the way

that you believe in God

or whatever God anyone believes.

And it becomes like a similar thing.

Like we used to kind of try and disprove

the belief in God with science.

And now science is kind of asking of people

the same thing to make that leap

and believing that there's something

that we can't prove and we can't understand,

but we have a hunch that that's what's going on

and it kind of feels the same.

And I find that fascinating.

[gentle music]

Talking about all these films,

it feels like a more cohesive journey

instead of like the way you experience it in life,

which is like, I'm going from

this to this and this overlapped and you know,

complaining about it

and not, you know, not being happy with it all

and you know, trying to, you know, go through everything.

I guess I realized that there is some kind of consistency

in a journey and you know,

and I'm not alone in this journey

and there's like all these people

that are jumping on the boat

and, you know, trying to achieve,

you know, similar goals.

And I might be willing to make another film,

which I was doubting for a little bit.

[gentle music]