FMC 045: Seven Directed by David Fincher

Full Episode Transcript
This episode of Filmmaker Commentary David Fincher's 1995 thriller "Seven," exploring its visceral visual style, character development, and technical filmmaking insights gleaned from the director's commentary.

Opening Discussion & Film Synopsis
Reginald Titus Jr.: Filmmaker Commentary episode 45. Welcome to Filmmaker Commentary, where we give you insights from our favorite filmmaking commentaries. These commentaries can be heard on your DVD and Blu-rays of your favorite movies. We'll show you how you can use these commentaries and apply them to improve your video production and filmmaking techniques. All of this here on Filmmaker Commentary. I'm your host, Reginald Titus Jr.
Reginald Titus Jr.: Welcome to Filmmaker Commentary. I'm Reginald Titus Jr. I'm joined with...
Casey G. Smith: Casey G. Smith.
Reginald Titus Jr.: Welcome back, sir.
Casey G. Smith: Good to be back, sir.
Reginald Titus Jr.: Yes, indeed. And today, we will go over 1995's Seven, directed by David Fincher, written by Andrew Kevin Walker.
Reginald Titus Jr.: So, I have a budget of 33 million. Box office 100 million domestically, and 227 million internationally for a total of 327 million worldwide.
Casey G. Smith: I'd say that's a win.
Reginald Titus Jr.: That's a big W. After that, you basically become the god of the box office, and whatever you want to do, well, okay.
Casey G. Smith: We'll hand you the keys to the kingdom.
Reginald Titus Jr.: Mr. Fincher, have your way.
Reginald Titus Jr.: Movie Seven.
Reginald Titus Jr.: What are you about to say?
Casey G. Smith: I was about to say that this is your first time listening to Filmmaker Commentary, please know that there will be spoilers. You've been forewarned.
Reginald Titus Jr.: Yes, you have. So let's jump into the synopsis.
Reginald Titus Jr.: Taking place in a nameless city, Seven follows the story of two homicide detectives tracking down a sadistic serial killer, played by Kevin Spacey, who chooses his victims according to the seven deadly sins. Brad Pitt stars as detective David Mills, a hopeful but naive rookie who finds himself partnered with veteran detective William Somerset, played by Morgan Freeman. Together, they trace the killer's every step, witnessing the aftermath of his horrific crimes one by one as the victims pile up in rapid succession. All the while, moving closer to a gruesome fate neither of them could have predicted. Seven. And that synopsis was by David Foyer from IMDb.

Initial Reactions & Filmmaking Discoveries
Casey G. Smith: Good job, David.
Reginald Titus Jr.: Initial thoughts, man. How were you introduced to this and how did you revisit, if you, or was this your first time visiting this?
Casey G. Smith: Well, Reginald, I first came across Seven, uh, by you. You actually let me check out your copy of it, uh, some six, six to seven years ago. Yeah. I hadn't had I hadn't been able to come across it and so I watched it and was shocked by the ending. Never was it was it ever spoiled, the ending?
Reginald Titus Jr.: No. No idea.
Casey G. Smith: Had no idea. Um, the the acting, the performances, the writing, the pacing, all that. This this thing is just it's uh, it's it's just well done. Uh, and as a whole. So I was I was happy to revisit it for for this recording of this podcast. Uh, watched it again, um, this morning and and I still like towards the end, that last scene, I get like nervous. And I and I get like, I'm like, uh Yeah. You know, and and so it's um yeah, it's it's it's a it's still a disturbing film and uh again, the performances are great and talent's talent. And and all the actors involved, they they do their thing uh all across the board. So yeah, I was happy to to revisit it and yeah, I'm I'm I've rented it I've rented it this time around, but I'm I'm I'm I'd consider uh maybe purchasing it. So we shall see.
Reginald Titus Jr.: Good addition to the to the collection.
Casey G. Smith: Yes, sir. How about yourself?
Reginald Titus Jr.: Man, um, I got introduced to this because never really was interested in uh the film. I was looking at your um Blu-ray case and I seen the the black and red, maybe once, but I thought it was the uh 12 Monkeys movie with Bruce Willis. And was Brad Pitt in that one too? The 12 Monkeys?
Casey G. Smith: Good question. Let's see.
Reginald Titus Jr.: Cause you know, like in Hollywood, you know, there's a lot of copycat marketing, copycat. Well, that formula works, let's try this.
Casey G. Smith: They're both in it. Yeah, Bruce Willis and Brad Pitt.
Reginald Titus Jr.: Okay. Yeah, so I think I remember like some, yeah, black and red. So yeah, that's what kind of I associated it with it because I remember Brad Pitt being in that movie and I don't know what year that one came out.
Casey G. Smith: 95 also.
Reginald Titus Jr.: Wow. So, yeah. Brad Pitt was winning that year, huh?
Casey G. Smith: He was.
Reginald Titus Jr.: So yeah, so I associated whatever the color with Brad Pitt and I was like, I'm not really interested in that. Um, but when I started researching and started taking filmmaking seriously and started looking at these commentaries, um, David Fincher was like probably the third director I started really studying. And um, discovered that his commentaries were awesome and he had a lot of technical stuff and he documents a lot of his behind the, you know, behind the scenes, he documents a lot. And so I appreciated that. And so that's how I came on Seven and was blown away.
Casey G. Smith: Rightfully so.
Reginald Titus Jr.: But this time around, I um, it's in my collection, so watched the film again, you know, me and the wife, she was like, you know, let's watch this together. So, you know, we went to the side and this is her quote. "This is a pretty damn good movie."
Casey G. Smith: Now, had she seen it before?
Reginald Titus Jr.: Uh, yes. Yeah, so she she kind of in she kind of remembered certain parts, but of course the ending, you know how it's gonna end. Like that, it's such a serious ending that you can't forget that.
Casey G. Smith: No. No, you cannot.
Reginald Titus Jr.: And so they kind of ruined it in a way. You know the surprise element, it's like, I know it's gonna I know where this is going. But I'll just get on for the ride. Um, so yeah, so we watched it and then right after that, I'm, you know, looked at the commentary.
Casey G. Smith: How long had it been since you'd last seen it?
Reginald Titus Jr.: Wow, years.
Casey G. Smith: Okay.
Reginald Titus Jr.: Yeah, years. At least five. To me, watching it again this time around, visually, now that I know like more technical stuff and things like that, it's more, it's like, off the bat, dirty, it's grimy. It feels dirty. Like the scene you like it feels gross. And it's funny because I remember certain parts of the scene, especially like dealing with the seven deadly sins, and we were eating pasta this morning, and then uh, for breakfast, like for breakfast, and then and I was like, I'm gonna hurry and eat this before we watch um Seven. And it's like, I'm not she was like, it's not gonna bother me. I was like, all right, cool. And then during the gluttony scene, she's literally eating pasta. And I was like, how's that pasta? And there's roaches on the floor, and then the fat dude's like basically face in the pasta, and then there's a vomit bucket under the table. I was like, how's that pasta going for you? She was like disgusted.
Casey G. Smith: Slow but steady.
Reginald Titus Jr. :Yes. Slow but steady.
Casey G. Smith: Pace yourself.
Reginald Titus Jr.: Oh, man.
Casey G. Smith: Oh, man.
Reginald Titus Jr.: So, yeah, so dirty, wet, grimy, it was just gross. Um, but I like how they um how they were able to uh differentiate the characters just by visually. So, right before that scene, we're we're introduced to Morgan Freeman's character, and he's he's got his badge and his switchblade and all that stuff like neatly placed out on his nightstand. He's putting his tie in the right place. His bed is already made up when he's going to this crime scene. So it's like telling you a lot of things about his character before um before he even talks. You know, coming to the scene. So it's like, okay, he's a real meticulous, on point kind of guy. So yeah, so that part I really appreciated. And what else did I appreciate? The visual style. You will see Brad Pitt and Morgan Freeman's character, they're kind of separate a lot of the times. Like they're or Brad Pitt will be lower in a frame, like sitting down, and Morgan Freeman's character will be standing up. Kind of showing like, you know, I know more than you, what are you talking about? Kind of just from a visual standpoint. But then as as time goes on, they start literally getting closer in the frame, you know, and then like halfway through the film, you literally see Brad Pitt sleeping on his shoulder. You know, so you visually see the gradual bond. Yeah. Visually, you know, just told through just through the visuals. So I'm like, man, I really appreciate that this time around. It's like, man, there's something that happens subconsciously that you're not really aware of. You're like, man, why is this such a good movie? It's almost like kind of like a masterwork.
Casey G. Smith: I watched it again. The performances, even even Gwyneth Paltrow. Uh, Gwyneth. With what she with what she does in the few scenes that she's in, she's she's she's pretty amazing in it. Uh, just She wins you over. Yeah, instantly. She's she's she's warm and approachable and the fact that she understands. Yes, yes, understanding as well and the fact that she reached out to set up the dinner so just her husband could so she could meet, you know, this this lieutenant that her husband is is is kind of working with but not really, but it's kind of vital in that how that whole thing just kind of reignites his interest and passion uh in in what he does best. And then you know, when she when she initially calls him to meet with him, initially, I'm like, what is going on?
Reginald Titus Jr.: You know, that's the question that all the fans, like the audience, like, what what is she doing? What kind of dirtbag is she? You know what I mean? Like, these are the questions that you're asking, like, but we're discovering more about this character.
Casey G. Smith: Exactly. And it's and it's then when you hear the reason why, you feel even more empathetic towards her, because he's like, I've got nobody else. I literally don't know anybody else in this city, you know? Oh, man, that's sad. That's really sad.
Reginald Titus Jr.: Yeah.
Casey G. Smith: And and then when she sits down and she tells him what's going on, you're like, oh, you poor thing. Like, you just you continually feel like this this empathy for her and it's like, wow, and uh making the making the ending all the more tragic. Because you feel like you've been you've been set up to just feel nothing but empathy for this character.
Reginald Titus Jr.: I feel like this movie, it reminds me of Saw, now that I've seen Saw. But Saw reminds me of this movie, now that I've seen it. And I'm like Saw's like a watered-down version of Seven, because I don't care about the characters that much.
Casey G. Smith: Sure.
Reginald Titus Jr.: In this, I'm, you know, we're friends with Brad Pitt and Morgan Freeman and we're all our friends. We don't want anything bad to happen to them.
Casey G. Smith: Yeah. Yeah, that's a that's a that's a fascinating a fascinating point. Um, it's it's fascinating to see kind of parallels or or interest in how, you know, you can take a a certain theme and then you just put a slight twist on it because like the way this starts this time around watching this. Before I didn't I didn't make this correlation, but it made me think of Lethal Weapon initially when when it's watching it this second time through. But it's it's obviously different genre of film, but there's just kind of buddy cop thing. You know, you've got the older black cop who is retiring. Yeah, ready to retire. Been on the force. And then you've got this renegade white cop. Yeah, kind of yeah, kind of a little bit of a a loose cannon, you know, gives gives way into their emotions. Now again, different genre of genre of film and Fincher gives us a lot of good time with these guys. Um, but it's also different because in in Lethal Weapon, you know, Danny Glover's Murtaugh has the family, whereas yeah, Murtaugh and Riggs. I think it's Riggs. Whoever Mel Gibson's character is, uh, Mel Gibson's character is is kind of the the loner. But anyway, it it's like was there a a a Lethal Weapon reference when they were when David Fincher in the commentary? Yeah, he talked about it. And he talked about because he gives us time with them that kind of differentiates it a little bit. And and kind of and he mentioned kind of doing a a film about cops, how authentic he wanted it to be. And especially he mentioned that gluttony scene when they go into the space and the fact that it was made more so to like realize skill versus being slightly larger. So it felt kind of cramped and claustrophobic and they made it as gross as they as they could.
Reginald Titus Jr.: That was terrible.
Casey G. Smith: Yeah.
Reginald Titus Jr.: Yeah, because normally when you're building a set, because they built the set, you would build more room into your set so you can fit the equipment of the your production equipment, which you made it uncomfortable for everybody basically.
Casey G. Smith: Oh, yeah.
Reginald Titus Jr.: It it felt terrible, like you wanted out. But uh here, mentioned Lethal Weapon, when they were um coming out of when they first meet him him and Brad Pitt. And uh Morgan Freeman wanted to sit down and have a drink or whatever. Brad Pitt, let's just go straight to the station. Um and they're walking up and down the sidewalk, but uh David Fincher just stays locked in on them instead of doing coverage. He said, if this was like Lethal Weapon or something, you'll do a coverage of the city, of other things. But instead, we just stay locked in with these two guys.
Casey G. Smith: Instead with the characters.
Reginald Titus Jr.: I'm like, okay. But maybe that's, you know, why we like, hey, we feel more attachment to these characters instead of just showing the plot.
Casey G. Smith: Yeah. There are moments also he mentions where uh he does this with Mills when he's when Brad Pitt is sitting in his vehicle, he's starting to look through some of the books that Somerset had recommended to him. And he's like, yeah. And he starts just cursing and he's mad. And the camera's outside the vehicle, almost like somebody looking in. And then once he starts raging, then all of a sudden, bam, we're we're in. And Fincher said he likes to do that to um to kind of give us this this different kind of sense of of of of immersion and connectivity. It's almost like somebody's peering in. And then it's like we then been invited in when there's action.
Reginald Titus Jr.: Speak, yeah, and you bring up that scene. Um, again, showing uh visually, showing the contrast of characters. So with um Brad Pitt's character, crazy ties, doesn't care, is loose. His shirt is wrinkled, he's all heck. Frumpled.
Casey G. Smith: That's what my mother would call looking frumpled. Frumpled. Yes, he's frumpled.
Reginald Titus Jr.: He is jacked. And then uh hair is not together, is just like whatever. Instead of like getting the books that Morgan Freeman tells him to get and reading it, he'll order somebody to give him the footnotes, right?
Casey G. Smith: The Cliff Notes. The Cliff Notes.
Reginald Titus Jr.: I was like, he's like, oh my god. He was so relieved when they showed up. And so it's easy to refer to bullet points in the chapter. And so when he's talking to Morgan Freeman's character, he's like Morgan Freeman's like taking it back. Oh, you read it? And then he didn't really want to like stick on the chapter too long. He was just like, you know, he just knows the bullet point. I was like, I read some of them, man. You're right. He was like, yeah, you know, some of them. He snuck that one in there. I was like, that's a nice touch. That was a real nice touch.
Reginald Titus Jr.: Morgan Freeman's character is left-handed. Brad Pitt is right-handed.
Casey G. Smith: I I picked that up. I picked that up. I totally picked that up as as a left-handed. I was like, I was watching. I was like, hey, Morgan Freeman is is left-handed. And I know you don't just like catch that in films, but for whatever reason, it stood out in this. And it made me think about some of those contrasts.
Reginald Titus Jr.: From a visual standpoint, David Fincher is just serving us all the candy.
Casey G. Smith: Serve on, David. Yes, serve on.
Reginald Titus Jr.: Um, another thing I noticed, just uh, I'm starting to get more into like the score and, you know, I have a subscription to Title, so I'll look up soundtracks and scores. And, you know, understanding the difference between soundtrack and the score. So like, you know, for example, in this film, you hear like Marvin Gaye when, um, when he's introduced to Brad Pitt's character's house, yeah, Tracy. You know, you hear Marvin Gaye, you're like, okay, they're jamming a little bit. Okay.
Casey G. Smith: Trouble Man. Trouble Man.
Reginald Titus Jr.: That's part of the soundtrack. Um, but then there's a score that's playing. And I try to look some of the stuff is is hard to find, cause I'll look up the movie Seven, like on Title or something like that. And it doesn't pop up. And so I have to do a lot of Googling. And there are compilations of scores, but if you know who scored the film, then it's easier to find the album. So like if you're on Title or something like that, uh the name of the composer is Howard Shore. And then the score for this film will pop up as a compilation.
Casey G. Smith: And sometimes when you search, um, again, like you said, the difference between searching for, um, Seven, you know, the motion picture soundtrack, versus Seven, uh, original score. Uh, sometimes that could be the difference. And they're they're getting better about and with newer movies, separating uh, the two. But sometimes, yeah, it can be more challenging to find the the score sometimes.
Reginald Titus Jr.: So yeah, so I'm I'm I'm uh digging it. So Howard Shore, he's the the composer and and um I'm I'm appreciating that more.
Casey G. Smith: You know, initially with the kind of cold open that they that they have before the uh the opening credits. It's kind of just, you know, we jump jump into it with with Somerset. I was like, wait a minute. Does this film not have is not gonna have any any music at all into I had to second guess myself because it was right at the beginning. I was like, oh, no. It sounds like something was like cut off. Cause usually we're used to seeing the David Fincher title sequence. Something, yeah. But it's just boom, right there. I was like, right in your face. Oh, what's ah, okay. There there's opening credits after the fact. And uh

Movies Watched
Reginald Titus Jr.: Before we dive more into this, let's talk about movies watched.
Reginald Titus Jr.: All right. So have you seen any movies this past week?
Casey G. Smith: Uh, didn't take in any any movies in particular. I've I've been trying to I try. I I want to go and see uh the new Aquaman. Like so before like we said last week, it's torn up the charts. I haven't haven't made it out just yet. Uh, I did watch um on the DC app, the new uh Young Justice. They they uh launched season three of that. Uh Young Justice was a cartoon series that they had on Cartoon Network a number of years back dealing with kind of um, kind of like basically like the the sidekicks uh of the Justice League, the Robin, Kid Flash, Super Boy, um uh Roy Harper who was uh Speedy, aka Red Arrow. Uh, but these younger heroes who are kind of trying to move from underneath the the shadows of their predecessors. And basically they were thought they'd be given a chance to join the Justice League. Um, but they weren't and they kind of got upset about it. And they said, you know what, we're gonna do our own thing. And so anyway, uh, long story short, they they had a wonderful two seasons of this show, but it got cut short. Um, and they did the full second season. Um, but it got it got like canceled. And I was like, what? Young Justice, Young Justice is is wow.
Reginald Titus Jr.: Any reasons for the cancellations? Do they give reasons anymore?
Casey G. Smith: Cartoon Network makes weird decisions. I I've seen it multiple times with shows that I thought were pretty good and then it's just abruptly canceled. It could have been viewership, but Young Justice was pretty from what I gathered, was pretty popular. Um, so much so that uh, originally there was chat about bringing it back on Netflix, cause it was it was announced it was coming back about maybe two years ago or so. There's gonna get a third season. But since DC launched their own app, and these are all DC characters, they said, oh, it's gonna be on our app. And so uh, yeah, so this January, it dropped. And so, um, they dropped the first four episodes. One of the things I dig about the DC app is that with their original content, which this is their second, this is their second uh, bit of original content. The first was Titans. And technically, honestly, Young Justice really is, it really is the Teen Titans. It's it's another version of the of the of the Teen Titans. The same it's the same kind of core characters. But the cool thing in in Young Justice is that they let them grow up more. Like, literally between the first season of Young Justice and the second season, there's about a three-year jump. Maybe four years. It's and and but it's amazing. I I I hadn't really seen a cartoon do that.
Reginald Titus Jr.: In cartoons? Yeah, you Yeah.
Casey G. Smith: Yeah. But seeing the characters like grow and like so you go from the end of season one and then you start season two, characters have changed roles. So you get, you know, in in season one, you know, Dick Grayson is Nightwing, but he is excuse me, Dick Grayson is Robin, but he's a young, he's like a young Robin. He's like maybe he's maybe like, let's say, 14, 15 years old in season one.
Reginald Titus Jr.: I've never heard of that before because I used to, you know, when the Simpsons first came out when I was a kid and all that. Why this kid's wearing the same clothes, in the same grade. We're growing up, why are they not growing up?
Casey G. Smith: They stay the same.
Reginald Titus Jr.: They're just churning thing out all the way to this day. Exactly. But so then in in season two, literally Robin goes from 15-year-old Robin to now he's Nightwing. He's he's grown man Nightwing. He's he's at least he's at least in his early 20s. It's effective doing that. That I mean? Oh, yeah. The jump, the jump, the jump was money. I was like, whoa, relationships advanced. New members are brought into the team. Now you got um um, you've got you've got you've got the new Robin uh Tim Drake Robin in the mix. So anyway, it was really well really well done. And so far this this new season, um on the DC app, one of the things that they do is that they it's it's their show. It's their stuff. They can do what they want. They can get as nerdy as they want. And that's something I hadn't seen before. I've seen, you know, you've seen stuff get nerdy and and you get callbacks and it's it's kind of a look show. But they can go in as much as they want to. One of the things that I wish they would do is put ratings on their shows. Uh, because I'm all good with violence things like that. But like with if you watch like the Titans live action show, maybe I'm missing it. Maybe there are ratings on there somewhere, but it doesn't say oh there's there's gonna be Do they have nudity or this or that? And like they that show that show is not for kids. And if a parent didn't know and they jumped into it, they'd be like, whoa, Robin's dropping F-bombs. And that's for Titans. Young Justice in Young Justice, I think it's important. They should create their own system at at the very least. And it's not to censor per se and I'm not asking them to censor themselves, but just to inform. Again, I I I think especially for parents. And Young Justice had a scene that they showed with the character that I was like that was a violent scene. And I was like, holy smokes, I didn't expect to see that, but I'm like, okay, you know, this is not under Cartoon Network or anything like that. They can they can really do what they want. But they're it's gonna be fascinating to see how they push that envelope. So anyway, Young Justice, um, also watched The Rock's uh show, the Titan Games. Uh, watched the first uh episode of that. Pretty cool. Um, and so if you're into kind of the American Gladiators or American Ninja Warriors, that's worth uh looking into. Saw our Cowboys get a nice little win. There you go. Also. Yeah. And uh again, I've been doing a lot of uh a lot of gaming. I uh been playing a game called Fire Pro World Wrestling. Uh, it's a Japanese-based wrestling game, which uh has been around for decades. And those are hardcore who know about Fire Pro, it's it's uh, it's like no other. And uh customization and just level of level of attention to detail and um the fact that people can, you know, making your own wrestlers or what they call CAWs, creative wrestlers, that's not a new thing. But for whatever reason with I don't know, with Fire Pro, these are these two these characters, there's just something different about it. And uh, I've been playing through what they call Victory Road uh, where I'm a I'm playing the role of an up-and-coming wrestler, which again, that's not a new thing. But for whatever reason, they've incorporated these different Japanese wrestlers and they're kind of talking to you and my guy actually, he actually I started in Japan and in their little dojo, where if you're in if you're in like a New Japan Pro, you start off as what they call a young lion, where you literally you literally are like, you're cooking food, you're you're you're helping build the ring, like you start at the bottom, like in a dojo setting. Those kind of things suck you in, you know, when you're developing, it's like, yeah. Now, I didn't have to cook, I was like just in matches, but I've been I've been kind of doing research like kind of what these guys go through. And it's cool to see people who have started in this promotion and now a couple years later, are like stars, but they they they truly earned their stripes. But in the game, like I started off. I had some local matches and I had built some success and then I won this tournament and that got me it it what it what the the goal of winning the tournament was to then go on an excursion to another country. So some guys go on to like wrestle in Mexico for a while. They may they may go and wrestle in Canada. Some may come here to the United States. But it's like a a honor. So I got I won the tournament. I got a chance to come to the US. And so I land and my guy is is is, you know, he's Japanese. He doesn't really, you know, speak any English. And there's another guy who shows up and with the promotion I'm joining and he helps me out. And I and I get a good run in the promotion. I actually end up winning the title. But this is like a, you know, quote-unquote a year's amount of time. And I get to go back to Japan. And it's it's fascinating. And I'm I'm only like 10% into this thing. Dear God. So it's a pretty cool run. Be careful out there. Yes. But but yeah, so that's been cool and that's been uh, yeah, that's been my my entertainment. Reginald, what have you seen, sir?
Reginald Titus Jr.: So this past week uh watched Bandersnatch, which is a Netflix original. And you can choose your own journey. It's kind of like the Telltale games where like literally your joystick starts vibrating when it's time to make a decision. And so you like once you hit the button, you decide where this movie is gonna go. It's like I've seen like four or five different endings. And it's Black Mirror. It's presented by, you know, Black Mirror. And it's pretty cool. One one uh there's a transition when it's time for your character to make a decision, his face turned. There's a weird transition where his face kind of turns black. I was like, I've seen this special effect before. And then watch it to the end. And David Slade is the director. And David Slade, of course, directed um Hard Candy. And you remember when the lights would turn kind of dark on on uh Ellen Page's face. That's how the effect looked. I was like, I've seen this before. Who did this? David freaking Slade. It's well done. I want to check that out. Bandersnatch, you know, it's in the 80s, uh video game programmer, you know, he's he's trying to develop a video game and that's all I got for you because um I don't want to spoil it. And then also another movie I watched uh with my wife. She hadn't So she grew up during the 90s and all that stuff, but her mom wouldn't let her watch R-rated R movies. So I'm, you know, introducing her to all these R-rated R movies. That's my job. So we watched the movie Friday. Ice Cube movie, Friday. She never seen Friday? No. It is hilarious. Like if you go back and watch it, it is hilarious. I watched it about maybe two months ago. Oh, okay, there you go. And I was like, I was like. It was surprisingly hilarious. There's nothing going on in this film. Like it's not it's nothing it's absolutely nothing going on. You can get fired on your day off. On your day off. My mama told me we have to eat gray. That was stupid. This is J.O.B. Craig. Who get a job. Johnny Witherspoon, man. Oh. He's the best. So, uh, yeah, we enjoyed that game. I mean, enjoyed that movie. So I was like, man, uh, and from a looking at it from a technical, I was like, this we can do this now. Yeah. Yeah, when you see it, I'm like, this is This is just comedy. This is just you just get some talented people that are good in comedy, that are good on camera, that can steal some shots. But there's from a technical standpoint, it's not. Now, did Ice Cube direct the movie or did he just produce it? Uh, he produced it and um I think he co-wrote it and DJ Pooh wrote it as well. DJ Pooh was a guy that's like, I'm just took my chain in. He was a I don't know if he was a main writer or the co-writer, but DJ Pooh wrote it. And um and Antoine Fuqua was the one of it was a guy in the convenience store who was just like, was that Antoine Fuqua? Who directed NWA, the NWA movie? Uh, oh, that's um uh F. Gary Gray. F. Gary Gray. So he was in the grocery store when what's his name fell off. Man, get off the floor. You ain't slip. How? I'll settle now for $1.00, whatever he said. My back and my neck. So I was like, I know that director, kind of. Yeah, because he's director. Yeah, F. Gary Gray. Oh, there you go. He's in the movie. Oh, wow. That's what so that's why that he would work with Ice Cube in this and then work with his son in NWA. Huh. Yeah. It's crazy. Yeah, Friday, man. He's tied in, he's tied into that world. So he, you know, he was able to tell the story from the West Coast. That's one of them those crossover films, man. I remember being in high school when that came out. Uh, I remember being in my chemistry class. And there was just one girl. She was a, you know, she was she was kind of your, you know, uh, somebody I wouldn't have expected to have watched Friday. Why wouldn't you expect to watch Friday? She was like, you know, kind of had some country roots. And uh, she's kind of wholesome. Yeah. And so wholesome. Oh, gotcha. I gotcha. And yeah, but all of a sudden one day she was like, oh man, I love that movie Friday. I was like, hello. Say what? That because that is a black movie, I'm just saying. But man, so many people have seen it. That one, that one, but this is the thing, we talked about this last time, but about drugs. Was that off camera, I mean, off the show? Off off mic? We were talking about cocaine and drugs, stuff like that. Uh, but weed unites. And so, uh, I that was a thing about this film, you know, there was a lot of weed going on. And it was one of the things that a lot of people can agree on from different walks of life. I went to college. I met quite a few people. Uh, like, yeah, it must have been off camera. Off off mic. Yeah. Yeah. I was I was shocked when I went to college. Uh, when I found out just people from all walks of life. I was like, wow. No, it was on Sorry to Bother You, when we did the episode Sorry to Bother You about the cocaine because of army. Doing the sniffing. Sailing the wave. Yeah. But good old Friday, man. Yeah. I I I they think there's there's chats chatter uh scuttlebutt, if you will, around about maybe potentially there being uh another one and you know, maybe trying to bring it. It's too late. Chris Tucker back in. Yeah. I don't I don't think it would have. Yeah. They need a young, fresh. It's a franchise. It's done. It's. And yeah, Chris Tucker hasn't I don't know. I asked He needs to work on that timing, that comedy, comedic timing. Man, yeah, I saw that last Netflix. Yeah, don't leave that alone. Yeah. I'm not gonna throw you on the bus, Chris. Yes. But we love you in Friday. Yeah. Loved you in Friday. And uh Fifth Element? No, not Fifth Element. Uh Rush Hour. Rush Hour series. Money Talks. Yes. He was hilarious in Money Talks. Yes. Yeah, definite comedy drama appearances early on. Man, he was But sometimes you can get locked in to being the loudmouth black guy, you know, and uh I can understand why he probably wanted to break out of that. He was he was he had a he had a nice role in um in Silver Linings uh Playbook. That's right. Yeah. Hmm. I don't know. You tell me, Chris. You tell me. What do you you want? Oh, Dead Presidents. Yeah. He was good in Dead Presidents. Man. Does that have commentary? Who directed that? The Hughes Brothers. I think. Man, I should know better. Oh, come on. All right. All right, um but that's it. Friday. Uh we watched Bandersnatch and Friday and was entertained. Not bad. All right. And let's head back to the show. Okay, thanks for tuning in. Uh this is Filmmaker Commentary and we are talking about 1995's Seven directed by David Fincher. Um, , what do you think about the commentary? There's over like the special features we have. Let me go through this. So you have four commentaries. You have one with the uh David Fincher, Brad Pitt, Morgan Freeman. Oh, on this one it just says other collaborator collaborators. No names. There's some other people there. Move along here. Move along. So there's another there's other commentaries. There's one with the director of photography, which I think is like the third one on there. There's one with the writer, producer and David Fincher. I think the other one's with um I think with the maybe the music producers or so.

Director's Commentary Insights & Technical Aspects
Reginald Titus Jr.: Oh, yeah, cuz of the sound. The sound sound and music. And one of the people from New Line or one of the studios. And um, from what I read, the commentary that's featuring the director of photography, if you're into filmmaker filmmaking technically, listen to that one. But uh, we listened to the one with David Fincher, Brad Pitt, Morgan Freeman. So, what were your thoughts on that commentary?
Casey G. Smith: So again, we always we often talk about how we feel about there being multiple people on a commentary track. I enjoyed this one fine enough. Uh, I I I enjoyed because it's it's interesting because Morgan is on his he's he was recorded separately. So he's not he's not interacting. At one point, I thought he was earlier on. I was like, no. Right. Morgan was recorded separately and then David and Brad were recorded together. Um, but it still it still works out fine because Morgan Morgan's Morgan Freeman is hitting you up with the acting game. He's dropping knowledge on on acting and and his career. It's kind of giving insight to his gravitas. Much appreciated too. Yeah, yeah, he's he's he's saying some very interesting things, uh, and and things that he's learned along the way like he talked about not committing anymore to like long-term projects like he did with the Electric Company. I was like, oh man, that's a deep cut. Um, and it says, you know why I've, you know, kids come up to me telling me that I helped them, you know, learn how to read, you know, I often wonder, well, did I help you understand, you know, what you were reading? And so, um, he he kind of got to the point where he really disliked doing it because he'd been there so long. But he but he learned to take responsibility for his career because of that. And says, you know, if it's my fault if I'm somewhere too long, that's my fault. Uh, so just different things that he learned along the way. And then his preparation and things of that nature. And and he talked about not liking directors to to to kind of, you know, to tell him, you know, exactly what to do with, you know, with the character when he's acting. He typically doesn't like that. But with David, uh, he said that he he was so impressed with his intelligence. Um, and he says he has a lot of respect for for Fincher. And just and and he just trusted him completely. And when when David is is is giving something, he's he's giving details to kind of how the scene is gonna be set up, things of that nature. And so, uh, yeah, Morgan just just trusted him and seemed like they formed a good friendship and said he's a he's a a fan and an advocate. Uh, and then on the on the other side, with Fincher and and Brad, they're going into some technical aspects and and again, Brad is is is, you know, Brad is kind of he's kind of riding that actor/producer kind of line. You can kind of I don't know if he had done any producing at that point, but you could see kind of he has a mind for the business.
Reginald Titus Jr.: Yeah. True. It sounds like you can understand why he produces so much now. Like he's really into it. He's like, you know what, one day I'm gonna have to take more control of this.
Casey G. Smith: Yeah, and you could you could see that. And and even their friendship forming. I'm assuming, is this the first film they worked on together?
Reginald Titus Jr.: Uh, when was Fight Club? Was it after that?
Casey G. Smith: Ooh. That might have been 96, 90. Yeah, cause 98 or something.
Reginald Titus Jr.: Yeah. Yeah, it would have been, yeah, Fight Club's 99.
Casey G. Smith: Yikes. Yeah, so yeah, definitely. So I think this was their first collaboration, cause Fincher talks about at one point, you know, he meets so many other people who are either like not around his age or whatever. But he said, whatever reason when he met Brad, they were kind of like, they just they just like clicked. That's true. And then they talked about, you know, the Monty Python thing that's when that came up and they just clicked and and and became buddies and and collaborators. And it's been obviously a good collaboration. And by this time when they recorded this, I I think they did this commentary specifically for the DVD.
Reginald Titus Jr.: Hmm. Whatever they recorded this, they talked cause they mentioned Fight Club as far as like which one, you know, is it's like his favorite. This might have been. Dear God. I'm gonna go to the copyright of this DVD.
Casey G. Smith: Yeah.
Reginald Titus Jr.: 2000. New Line Home Video. Okay. Released in 2000.
Casey G. Smith: Yeah. So, so it was why right after Fight Club then after that release, then they went and they did this this commentary for this. Um, and they've even went through a special process even to put this on DVD. I watched some of those features. And I was like, oh, wow. But even before when they actually did the film itself. I mean, this this this is a highly stylized film. Even you get the the real deep blacks and then the the the resolution and all that. I mean, Fincher goes through some pretty technical stuff.
Reginald Titus Jr.: Yeah. And now I remember at the time cause everybody was still shooting on film. And the thing was I think it was with him. Um, what's the guy that did Three Kings that did American Hustle?
Casey G. Smith: David O. Russell.
Reginald Titus Jr.: Yeah, man, they're like the process of developing your film and Traffic, who did Traffic, the movie Traffic. Um, I don't know who did Traffic. In Traffic, there's a there uh there's a sequence. I think it's when they're in the city and it feels like real blue. And um that was a process on how they processed their film. Either skipping a process or using a different type of film. And and you he David Fincher is going deep into all that stuff. Like, obviously, that's what I'm like, I'll be so scared to do that. Just to the fact that you can lose all that footage. Like, you can lose all those performances if you screw this up. Right. I'm not a fan. I'm glad we're digital because I I don't think I could, you know, accept that loss.
Casey G. Smith: But, you know, but because of his background in music videos and and and some television, he's had time to, I think, experiment. Um, well, I mean, the thing is maybe not. Well, the thing is it's you have no control once you skip a process or dump it in a mold. Cause you're not you're not the one physically doing it. A lab is doing that. And anything you gotta you're signing wavers. Like, hey, anything can happen. You know, it's it's just that kind of art, but when you're skipping processes and you're kind of going out your way to kind of create a look that's baked in, my god, anything could happen. I'm yeah, they're ballsy.
Reginald Titus Jr.: Yeah. No doubt.
Casey G. Smith: Well, you know, Fincher is, yeah, willing to take risks. I mean, this film. This film is a is a dicey a dicey film. I think especially for its time. I mean, I don't know if we had seen anything quite like this. Um, I can only imagine, you know, when it came out. I mean, I didn't I again, I didn't see it until years later, but I can imagine when it came out, like, uh, people felt even seeing it in the theater.
Reginald Titus Jr.: The comments, did you hear what the comment was? The lady's like, the people who made this film need to be murdered.
Casey G. Smith: Wow.
Reginald Titus Jr.: But they also talk about how the how they had to change the the uh the ending. Um, because originally it was just right after after he shoots him and he boom, just, you know, fade to black.
Casey G. Smith: That wasn't, you know, for at least a test audience, that wasn't enough for for them. But um
Reginald Titus Jr.: So the commentary, insightful, entertaining, they seem passionate and there's a little bit of education. So it's a, to me, it's a good balance, you know, between all of that. Any themes? I just got one.

Themes, Quotable Lines & Final Takeaways
Reginald Titus Jr.: I only got two.
Casey G. Smith: Okay.
Reginald Titus Jr.: Mine, the one I got, is just everyone is guilty of sin. That's good. I I I put down a theme of the call and the fall of heroes. Hmm. Because there Morgan Freeman as a cop is a hero, but he's kind of falling away from it. Jaded. Yeah, and Brad Pitt even calls him out, the one scene in the in the bar. Like you want to believe all these things that you're you're you're saying, but I don't think that you do.
Casey G. Smith: And what happened to you, man?
Reginald Titus Jr.: Yeah. And then Brad Pitt's character, against Somerset, Morgan Freeman's character, you know, tell him, oh, you you want to be the hero, you know, you you really want to be the hero. Um, and then John Doe sees himself as a hero and doing work, the work of a of a higher power. He sees he doesn't see himself as a a villain per se. Um, and so, yeah, but he but he he feels like he's answering a call. So it's like, everybody is answering a call, but ultimately they all they all fall. Um, obviously John Doe, I mean, his whole thing is is is is twisted and dark. And ultimately, I'm thinking about the ultimate ending almost, but I mean, yeah, but he but he he he's he's he's guilty as well of of the sin, right? He says, you know, envy is his sin. Uh, and obviously Brad Pitt's character when he gives into It's like a true sacrifice in a way, because he's, I must die. You know, if you're willing to put this thesis out, that means you have to die too. Yeah, that's true. If you're guilty of sin. Yeah. And then Morgan Freeman's character, I I felt I I felt he could have stopped. I felt he could have stopped um he could have stopped Mills's characters. Mills's character. Um, he could have got in front of him. No, I Yeah, he could have. I agree. He could have. He could have he could have gotten in front of him. He was he was kind of he was kind of standing there. You know, don't do it. You know, I'll put it down. He's trying to get, you know, he's trying to get John Doe to to to shut up. But I'm like, uh, I think if he did not have a relationship with Tracy, he would probably have done that. He's still in shock after what he just saw. I get it, he's his new friend in a way. Yeah. No doubt. No doubt. It's his new friend. So he's kind of torn too. Yeah. And even uh Morgan Freeman said he didn't really know how to respond, how to act. Yeah, he said he failed in in in his reaction. Yeah. He said, even to this day, he wouldn't know how to react. Yeah, I'm like, man, that's so honest. Like, man, that's a that's a honest answer, man. I I was impressed with that answer. I'm like, man, that is that's kinda deep. Yeah. Wow. How would you act?
Reginald Titus Jr.: And the fact that he he took the time took the time to save never expense that in real life. I'm like, well, that's good to know Morgan. You can get shot in boxes. That's that's good to know. Yeah, I think because like he's saying, you're pulling so much from real life. I think as you become more experienced as an actor, you're just being, you're comfortable being in front of a camera. Well, he also mentioned his style of acting. He specifically highlighted that his style of acting is one where he doesn't have to ramp up. There are other actors who have to yeah, who have to get pumped up for the thing, but he's very much so often his characters are are old level headed. He's got the experience. He's there. He's at the experience. And he's living in the now. And I think that's why um we're talking about the fly, what's her lady's name from the fly? Geena Davis. Yeah, saying that she doesn't like doing a lot of rehearsal. She just likes to live in the moment and then is reacting to whatever. Are we rolling, are we rolling? We're getting some good takes here. You need to come on. Brad Pitt's kinda I think he's he's kinda a bit that way as well. He mentioned that in in in Fight Club. He likes to feel the scene out and kind of be able to kind of take it and and and go and go from there. But, you know, Morgan Freeman says that he is by and large, he is he often plays level-headed characters. And I think about like, man, yeah, I've you know, off hand, I can't think of he's like just like, you know, kind of mad or crazy. Lean on me. Yeah, I was gonna say you got you got it right there. I was about to say, yeah, Lean on me is is the the biggest and in in in wild is not even the right word. It's most passionate and intense. There we go. That's the most intense I'd ever seen. He's played so much stuff that he's already even may go through the archive. You know, you have to you have to take some research in that one. But he says he's kind of that typically kind of level-headed. And that's because he's gotten older and he's gotten comfortable in that. And he said that's also a downfall, because his performances aren't volatile. So he's like, just tell me what I need to do. Yeah. Yeah, that's true. It's kind of his that's kind of his he knows his kind of wheelhouse. Um, but it was it was fascinating to hear that again, that just that transparency in him saying that, you know, this is, you know, who I am, how I act, what I do. So that's one theme. And then of course, obviously, the theme of Seven itself. I was trying to look to see if there are any kind of hidden sevens throughout the throughout the film or anything like that. Um, I was kinda thinking about I know he was gonna retire in seven days. Yeah. And it's pretty much, isn't it like, doesn't it think take place over the course of seven days? Yeah. I saw like 666. Yeah. Maybe because Kevin Spacey's character was on floor six. And then when Brad Pitt would go by the number six, they did it like three times. And so you'll see 666 and then he had the cross in his room and all that stuff. Like, okay. Maybe. Yeah. But I didn't see any sevens. Yeah. I I I couldn't really catch any other ones either. I was like, yeah. And he didn't say anything about it. So. No. Any quotable lines before we go before we go into tips for filmmakers? Yeah, there was uh I had three of them. One, when Brad Pitt is is when they're when they're in the office and and uh Somerset is is telling the uh I guess the chief that he doesn't want to take on the case. Yeah. And Mills is like, well hey, man, you just give it to me, you know. And Somerset says, he's not ready for this. And Mills is like, you know, I'm right here, man. You don't have to, you know, you know, you can just say it to me. And then he just turns and says, you're not ready for this. Just just straight up turns around and tells him, you're not ready for this. Uh, I I dig I dig how he did that. Um, when when they're having the conversation, again, towards the end of the film, it's when they have both the cameras on. They're having the dialogue. And Somerset tells Mills, this is not gonna be a happy ending. Yeah, he's kind of telling the audience, right? Yeah. Yeah. It really is. It's this this fortune. And then, of course, Brad's uh line towards the end, you know, what's in the box? What's in the box? Yeah, just like that that that uh yeah, the chilling curiosity uh the answer that you don't want, you know. No, man, that's terrible. Yeah. How about you? I only had one. And it was from the chief. Come on. Someone had a problem with the fat boy. And they just decided to torture him. Simple as that. That chief is hilarious, man. Yeah, yeah, keep it keep it simple. Keep it real simple. Someone had a problem with the fat boy, and they decided to torture him. Simple as that. Godly. All right. Tips for filmmakers. So, know your vision. Um the opening, I think this is like part of the one of the opening uh scenes. And David Fincher, he does like 27 takes. Um there's like two pages of dialogue between Brad Pitt and Morgan Freeman. They're out in the city. It's raining, etc. And it's a low angle, shooting up at them. And they're coming towards the camera. And what are they explaining? Oh, it's Brad Pitt, you know, you know, talking about where he came from. They then transition. They want to sit down. He's like, no, he just wants to really get into the mix of things. They've done over 27 takes. They probably pissed off Morgan Freeman. Now that we know, you know, what's going on. But he trust, you know, David Fincher, so it's cool. And because he um after he shot those 27 takes, other people were saying, hey, we need to get coverage, we need to do this. And David was like, no, I'm good, you know. Yeah. He knew what he needed. And but that's and that's the reason why he had to have so many takes because he knows he's doing this kind of like in one take almost. And you don't need the coverage going to the cars and all that stuff. He knew exactly what he wanted, got that. And when he got it, he he we're good. We don't need the extra stuff for filler. Know your vision. Have your vision. Another one is go against form and break the rules. In the title sequence, there's like offset letters. It's not they're not straight in a line or anything like that. They're just crooked and things like that. Um, and a little shaky, a little shaky. And all that. And so David Fincher is basically going against form. He was just like, why does it have to be that way? Because the reason you would do it in this spec is so that your later your letters are straight, intact, doesn't shake, shooting on film. By the way, they had $50,000 to shoot the title sequence. How about that? Well, you know, I mean, he well, that kind of plays into a history of of his extensive title sequences. You know, you get to get to the Girl with the Dragon Tattoo. I think that was easily, you know, at least a million. Check it out. They spent all on that. Yeah, and it is memorable. Yeah. Yeah. Did that movie ever come out, the part two? Uh, yeah, well, you know, he didn't direct it, but um that was different. Different director, they got a different actress uh Claire Foy from The Crown and um other other films. She the girl who I wish I wish I wish that they were able to do that part too. Yeah, they could. Like that was like sad that they couldn't get them all back together again. Rooney and all them. Oh my god. Tangent. Yes. That yeah. So it did drop. It must have bombed if I haven't heard anything else. Yeah, you know what? Yeah, it kinda came and and and went. And I didn't hear much anything. That's upsetting. But at any rate, um David Fincher for him to know why things aren't set right or whatever, hey, did you know that was crooked? Like, yeah, I know that. That was on purpose because blah, blah, blah, blah. So you gotta know the form, know the basics. So when you're breaking the rules, you have that freedom to break it. You know, you're not just doing it just to be doing it. Show how people exist in a world. And so there's a shot of Morgan Freeman traveling to the library. And I think David Fincher talks about how he likes to see how people travel, you know. I guess these days it could be, is this person a driver? Is this person, does he have a somebody to drive them? Is he in an Uber? Seeing how people kind of live their lives in the world. Exactly. And how they react to their surroundings. So he likes to kind of shoot that, but I think sometimes you run into, especially dealing with studio films, you run into um uh having to push the plot more than kind of live with these characters. Without the character. Yeah, just hanging out with them and stuff like that. And that's I guess that's why people like the episodic stuff. Which Fincher mentions, yeah. Because he spent so much time with the characters, let them breathe. And really, he said, live live in their world. And he able to think about the small details. And also with, you know, within think about how the characters live in the world for the actors. You know, Morgan Freeman mentions that when he's kind of finalizing a character, thinking about things like how they dress and like, you know, finding that detail and thinking about, okay, would this character wear a hat or not wear a hat? And he knew the put the hat on to Somerset. So he knew that was it. Yeah, this character would would wear a hat. So read. And I think Morgan talked Morgan Freeman talks about this. Read. Uh when you read, your imagination goes to work. Um when you're watching things, you're watching other people's imagination at work. And uh we talked about it briefly on, I can't remember what podcast, but Werner Herzog, hopefully I'm saying his name right, from Masterclass, talks about how as a filmmaker, it's important to read. It's just different from other mediums. You know, it allows your mind to, you know, create that imagination. You're like, you create when you're reading, you get your brain creates that world for you. That's true. Versus this is what the world is. And then you piss people off. Especially if it was something they didn't really have in mind if it's some other property. Also, uh know when to cut a scene. Even if you like it and it's not true to character. And there was a scene uh when Morgan Freeman goes to meet Tracy and they're having dinner. And I guess towards the end, Morgan Freeman like had some kind of piece of paper or something like that. And then uh Brad Pitt says, you're a fag or something like that. Yeah, so yeah, yeah. I know what you're talking about. It was it was kind of I was like, okay. Well, see and I I was trying to figure out exactly who who would have would have said the F-word. I don't know if it was Morgan's character or Brad's character. It was Brad Pitt saying it too. It was Brad Pitt's character. Because he's homophobic, you know, based on where he comes from. Um even if in the scene when Brad Pitt when he's sleeping against Morgan Freeman and they wake up, uh if you look at Brad Pitt, he's like, what the, you know, like. But which is different how Morgan Freeman woke up. Morgan Freeman was like, oh man, they caught me sleeping on the job. But when you see Brad Pitt, when he wakes, he's like, I ain't into that gay stuff. Like, that's how he looks. So like their reaction is totally different. Uh-huh. But yes, so it would have been uh Brad Pitt's character that would say that. But I think, uh, even though it's true to character, I think that it it would upset audiences and not like them or believe in the relation that they're developing. And it it would I don't think it would it would have helped them out. Even though it was true to character, it it really wouldn't help. He would seem too much of um an idiot, dirt, ignorant, you know, it would it wouldn't come off right. Even though it was true to form. So I think that was just knowing when to, you know, when to cut scene. Know which scenes to fight for, which ones you gotta let go. Higher grade actors. We've heard about this before. Hey, you know. And he he was saying this because there was a friend there was a uh a scene where uh he said Morgan Freeman, he came up with a line and it was the scene, same same scene, you know, at Tracy's house and they're going through all the pictures of the crime scene. And Morgan Freeman's such a good actor that he's just going through stuff and you just see his face, but you don't see his hands like moving these things around. He's like, dang, he's really into whatever it is that he's doing. He doesn't show so many takes of that scene. Yet, he really thought that that Morgan had had a system down as far as where he was putting things. And so when they went to get some extra coverage over the yeah, over the shoulder. He was like, okay, well, you know, just he's like Morgan's like, well, well, what do you what do you want me to do? You know, what do you want me to place things? And Dave was like, I thought you already were. You look so convincing. That's that's a good actor who fooled his director. He's like, nah, I've just been moving, I've just been moving things around. So they had to start from scratch. Hilarious. But, um, Morgan Freeman came up with the idea of having the picture pointing it out with the lady with the blood around her eyes and saying, this one. That one thing. And then that allowed them to transition to the next scene. So, and that was something Morgan Freeman came up with. It wasn't in the screenplay, but it allowed them to transition to the next scene. And then Gwyneth Paltrow, Tracy discovers like, they're gone. And then we see them cut to they're in the field going to the next house. Another thing, uh, you talked about earlier, uh, when you're star actor over, you know, get them to want to go on the ride with you. And, uh, Morgan Freeman talks about how, you know, he enjoyed talking to uh David Fincher. He was so intellectual. And he from a just from a technical standpoint was like, hey, this is what we're going to do and was passionate about it. He's like, man, all right, cool. I trust you. Yeah. Totally totally trusted him. I was like, that's that's pretty big. Fincher even mentions that again, when talking about hiring um the right actors, he also mentions that it's it's his job to make people feel comfortable in what they are doing. That can spill over to all members of, you know, the cast and and crew. Um, but with the actors specifically, to kind of also have them be selfish in terms of thinking and realizing their character in that world. Not so much worrying about uh audience perception per se, but just kind of just being in in that character and doing what that character would would do in the world in that situation. Hmm. I thought that was, okay, that was that's pretty solid. But him helping them get that place of being comfortable. And knowing that different actors have different processes in terms of what they what they need. Some might need more more direction, you know, or whatever, but it's his job again, to make them feel comfortable, which I thought was I was like, that's I think it was a tripping at one scene when the guy was like hyperventilating. He's like, he made me do it. He made me scare. You know, it was like, dang. Like that was a great performance, but then understanding how he got to that. And that's what Morgan Freeman was talking about, some actors need to the pumping or the and then the method or the, you know, hyperventilating, forcing themselves to like physically do that. I'm like, dang. You notice at the at the end of that statement, he's like, you know, you know, his style being more uh again, kind of more contained and not have to ramp up. And then it's just, but that being said, less is more. It kinda just like, I was like. You thought I was shake. Shots, shots. That's what happened when you get over. He's like, all that being said. Less is more. I was like, more. Good day, sir. Good day. Savings careers here. Oh, man. That was that was hilarious. Uh-huh. But, um, but I will agree that he definitely definitely leans more towards the technical aspect for sure. He's a technical dude. But people even said that because of his intelligence, things like that, people often miss the humor. You know, hit underneath the layers. So there's something there's something like very like there's something like personal about about about the dude. Yeah. Um, even and and he comes to a time when some of the stuff that he's saying, again, when I when I hear him talking with Brad Pitt, that's why I think one thing I really enjoy about him talking with Brad Pitt and kind of just that kind of back and back and forth. Um, I was like, yeah, that's cool. That's cool to to to hear. So. Yeah. Yeah, they definitely have a camaraderie there. Yeah, it'll be interesting to see from other people's uh perspective. Yeah. I'm I'll listen a little more intently, uh, on something that I could. I think there was some stuff there in uh, Zodiac. Zodiac. Uh, uh Zodiac, man. It was kinda wild though. Even after I was like, oh man. Some of the amount of takes. I was like, this is this is intense. It is. And then you know, they say it's some slide comments and things like that. But, uh, Okay. So, yeah. Girl with the Dragon Tattoo. The amount of callbacks that Rooney Mara went through. And Fincher, you know, told her what she would have to do, what she would have to give up and all that kind of stuff. He's to me, to me, that speaks to how into the process he is of what what he needs from his actors. And them just getting prepared. To me that's a that's a level of of of of detail. Not just from a visual step, but just a mental like process, if you will. Process aspect. Um, I don't know. I I felt I felt that that's where I definitely saw it for sure. Right. Uh, and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That's that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain way and that got you into that character space. And now you don't have that. And you don't even have the other actor, you know, there to bounce off of, then yeah. And I and again, he he was specifically trying to make these changes as well. So, again, I I I felt I felt that that's where I definitely saw it for sure. Right. Uh and again, maybe it's maybe it varies per project. Yeah. Per actor. No, I I think I think it would be he's fine. It's just the um, that person, that craft and talking in that language. That's all I'm saying. Because it because it just because how he like kind of dismissed it in a way. That that was like that was the only reason. That's the only reason. But I don't But I think it's it's one of those things that it doesn't really matter because he does all his other stuff so awesomely that it doesn't I don't think it's necessary. Well, even when you watch the scene between him and Brad, there was something that he didn't like about it because he's so detailed. He would have, if he didn't like how it came out with the looping or whatever, then he would have had him redo it, somehow, some way. If you know, there's balance of power shift. And when I watched the scene, I'm like, well, I mean, I felt like Spacey's supposed to be, you know, that John Doe's supposed to be winning. Um, and when even and even whatever Brad did within, he seemed intense. But that but that's I felt that's also true to his character. He's he's a man who goes by his emotions. So, I can kind of feel Fincher that well, I didn't really see. But we didn't see but we didn't but we didn't see what that performance was before they looped it. That's true. So we don't know. That's true. But again, but if but if he didn't like it, he would have he would have had he saw something, you know, disparaging thing. He would have he would have had it. I think it was trash anyway, because the audio was gone, so it doesn't even matter. So this looping is gonna be greater because of it. You know what I mean? Like, yeah, they mentioned having problems with with um shooting in uh and some of the vehicles. Was that one of the ones where Yeah, so that was the last scene when they were arguing back and forth. And that was going to be my next point, you know, you can lose the feeling of a scene when you have to loop the audio back in. Yeah. And um and I know from our own personal experience, shooting in the car, angry that you, another actress, angry battling each other. It was awesome. But the audio from the outside and the from the engine just kind of overpowere the audio that you all had. And no matter how many takes we did, we couldn't I could not get that feeling back. Um, it's a it's a subtle it's a subtle nuance. Nobody else would know. To them, y'all still had the argument. But I know the difference. You saw you saw the you saw the you know, the triple A road. Oh, man. And and it's hard to match y'all's intensity while you're sitting there doing the recording, rerecording audio. It's just total it's almost impossible to do it. Now, you can say the same words and match it up and sync that up. And to the audience, everything's fine. You can have another performance. Yeah. It's another performance. But it's but it's again, the moment it's not it's not the performance. Yeah. It's so subtle that it's kind of hard to explain and honestly, it doesn't matter, but it does. Yeah. And we had to work our way up to that. And, you know, even from a directing standpoint, cause even in doing that looping, you weren't there for if I'm mistaken, you weren't there for that that looping. I don't think so. No, you weren't there for that. I was there for a small portion in. Yeah. But for that, I don't think you were you weren't there for that. So that's also makes a difference also. And I I wonder, you know, with some of the ADR um, oh my god. In Girl with the Dragon Tattoo, I remember seeing Fincher there for some of Rooney's uh looping, but I don't know if he was there for uh, you know, some of Brad's or or whatever. So that's also a factor. I'm like, I wonder from a directing standpoint, just being to direct them. Because because the reason it you can't you can't um recreate it because in order to recreate it, you have to be in the car. Driving in traffic or not in traffic, but just driving in a real street. And shooting. And that and that's how they shot it. They shot it when in real time. Also, even even dressed, you know, in in character, in costume. Hot. It's hot outside. Yeah. If you're going into a looping session and you're just, you know, cause you're not on camera, you're just maybe dressed differently. Not that you can't again, I'm mad respect for voice actors. You know, not that you have to be in character, but if you've done a role where you were in character and you had you dressed a certain