Really, when you are.
The moustache. The moustache is the big difference.
It's another story, I suppose, and the exciting thing about doing it with you is that I suppose we just sat down and said,
oh, we're making a little film here, well, what should we do?
And obviously, you know, it's another story and another setting and another character,
and so from that point of view, it's completely different.
But working together and enjoying it and just getting a job done is the same.
I like working with Jude, and we've got a shorthand now.
And funny enough, I don't really look at it as work.
We had a rough plan that the creatives from Dior had come up with,
but they were very encouraging for us to come up with what Jude and I wanted.
If I start a sentence, Jude finishes it for me,
because I know he's got the attitude of what it is that I'm trying to convey.
And I think that's a cultural shared knowledge.
Wouldn't you say?
Yeah, absolutely.
Basically, we've done whatever we wanted.
And we hope that we created a more interesting film than what traditionally has been portrayed in Perfumads,
which is a treacherous territory of the creative department.
But we've really enjoyed doing it, and it's been very organic, the creative process as we've gone along.
But it's fun working with your mates, and Jude and I go on to do many things together.
Preparation, I suppose, is everything in film, and there's an amazing team of people here
that have created a world and a sentence and a storyline and settings,
but then they wanted us to kind of inject it, I'm guessing, or at least allowed us to inject it with a spirit.
So the storyboards were, from my experience of what I've seen and what we've now made,
they were a very rough idea of a linear story,
and we've kind of then gone to that and made it personal and made it our own and filled in the colours, if you like.
But listen, they wanted something elegant,
and what we're trying to do is give them something that's edgy and elegant.
I mean, I tell you, what did come up, what seemed to flower during the day,
was this idea of this guy who, you know, scent is a very interesting thing,
and if you're trying to merchandise scent, especially to men,
you're trying to say, you know, this will make you more masculine, or this will make you attractive.
Let's be honest. Do you know what I mean?
And so there was an element to this, that we wanted the presence of a woman to be exciting to this guy and his life.
Do you know what I mean? That she's there, is she not there, who's in control, does she come in, does she go out?
Why are we attractive?
Why are we traditionally attractive?
What we did when we were on the cliché, and I hope what we haven't come up with is a cliché,
and I think what we both agree with is traditionally the idea of a spoilt, good-looking man who lives in a penthouse
is not necessarily a man that I aspire to be, or Jude, so we wanted to conjure up some kind of a personality
that we both found interesting.
We didn't want something conceited, we didn't want something high-end,
so that the every man would see it and kind of go, I'll never be that.
We wanted something that kind of, a man that mixes in all the worlds.
You know, street sophistication.
What we didn't want is someone that was spoilt and rich.
We've tried to integrate a sense of that within the spot, actually.
You'll have to wait and see.
It's the most visually stunning city in the world.
The nice part of the city looks like a film set, doesn't it?
I'll tell you what, you just come, you step out of the door here and take a photograph,
and you can't help but be inspired with the Parisian effect.
One shot yesterday, first shot up, one of the first shots up, looking out over the Eiffel Tower,
which is such an iconic view, but there was a still, or it looked like a still,
and it looked so familiar, and yet I know I've not seen it used or shot in that way before.
It was a good shot, that was a happy accident.
Occasionally, you know, if you shoot as much film as I do, you have a happy accident.
I'm really excited, I've enjoyed the whole thing.
This is going to be a great night, we get the sun to go down, I get to drive a little sports car all night.
Until we've actually put it in the oven and the cake has risen,
I'm not quite sure what to come up with, but I'll tell you what.
It's going to taste good.
It will taste interesting.
It should have a unique flavour to it.
It should feel different, shouldn't it?
Yeah, it should feel different from anything you've seen in this genre before.
