It's kind of interesting because when you write a story that you already know as a writer,
it's kind of interesting because when you start taking the direction, you already know
the story backwards.
I started actually creating the direction of the film from the very first word type on
the script.
I was very clear on what I wanted, even on the framing of every single shot that I have.
It looks like he's a director since he was a child, I mean it's like he's been doing
like 10 or 20 films.
I think it's a very demanding director and I have to say that it's not easy to work
with him in the good sense as well because he's not just like allowing whatever happens
and saying to you, well that's okay, you did the right job, no.
It's great to have a director who knows exactly what he wants and knows how to communicate.
He also allows us to create, to work together, to bond before filming.
First of all, we met in London, we had a dinner all together and then we got here and we had
five days to get to know each other and work through the scenes and rehearse and within
that we could also create and we had the freedom to experiment.
So we came into this environment to create these characters, feeling very comfortable
about each other as people and that was so important for this particular project.
He's really creative, he knows exactly what he wants in terms of wardrobe look, lighting,
photography.
The tone of the music, the kind of cinematography we apply, the colors, palettes, everything
else was done in the process of the writing.
He had an idea of what he wanted and he communicated it very clearly and he wasn't afraid to work
with the actors very in depth and leave a lot of the kind of visual side of things.
To me, we discussed all of that in detail beforehand.
He's really an actor's director as well, he gives you so much time to rehearse which
is a luxury on films, you don't normally get a rehearsal period, you turn up on set
whilst they set up the lights, you run your lines and lock it and then you go.
Having background as an actor as well made his direction much more specific and him understanding
what we do and the emotional process that we go through to bring as much truth to the
characters as we possibly can.
Victor has a very nice manner how to motivate, there's an old saying, you can motivate people
with a carrot and you can motivate people with a stick and it's sort of his job is
to know when to use the carrot and when to use the stick and he's very good at that.
I don't want just to create something like this, encapsulate it in my mind and get it
outside because this is a community art, you need to integrate and my job as a director
is just to give the green light to things that are helping to tell the story.
I think it's way richer when you integrate those inputs into your story.
It's really, really helpful just to get everybody involved and I think the result is very, very
clear because everything is at the same level.
People was already in the same page when we started the rehearsals or the discussions
about how we are going to do this.
They were already getting the intentions of my direction from the very beginning.
