2c? I don’t know. Also, it’s really interesting what you did with that scene in particular. It’s not just like, “oh, the lighting is too gloomy.” Just like, “oh, the lighting is a bit too bright,” like “you need to light up the background a bit.” When you did a scene like that, with that kind of lighting, it’s like, “oh, you know, the sky isn’t the most interesting part of the scene,” which is a really great way to get that vibe that it’s something other than just the foreground of the camera.
Do you find yourself going back and forth between your first four films and your latest?
I’ve gone from the first film, which was so much fun to do. Then I went into the second, which I wasn’t so happy about at all. The third was very much what I intended it to be, actually. It was so much fun to do. I really had to think about, what is it about this scene that I didn’t like? And it was funny, I’m always looking for jokes, because it’s like, “I don’t even know what I’m laughing at,” because I’m like, “I hate this scene, you know?” Then there’s like a joke from the fourth, which was like, “O.K., we were so wrong about that guy, and then he does something really silly like this and we think that’s what he means by a knife going through his forehead,” and it’s so funny because people were just like “holy moly!” and then they all went, “Oh, he really means that?” I’m just like, yeah, yeah, it’s pretty funny that it all went a certain way so that way. And then, at the end of the film: “Well, that was fun, but that wasn’t enough,” and I went, “Yeah, yeah, I understand.” And I think that was part of the reason that I didn’t know whether I was going to be able to do a third, because I didn’t want to do that whole thing that much more. And when you can do two or three movies in a row of two, and then you do the fourth and it goes, “Oh, okay, let’s do this again,” I would rather stop than, “Oh, this one’s not that good.” The thing is, it’s fun to do something that’s so much fun, and then the
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