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ComingSoon Editor-in-Chief Tyler Treese spoke with director Vasilis Katsoupis. insideis currently playing in theaters. The director discussed working with Willem Dafoe, the chronological shooting, and the film’s themes.
“inside It’s the story of Nemo, an art thief who gets trapped in his New York penthouse when a heist doesn’t go as planned,” said Logline. “Trapped with only a priceless work of art, he must use all his cunning and inventions to survive.”
Tyler Treese: You first came up with the core idea for Inside in 2010. Now that you’ve finished your work and you’ve seen the final cut, how does it feel to have all the work done and the world to see your art after so much work?
Vassilis Katsupis: fly to the clouds, i think [Laugh]Not only is this movie made, [but] That our film was very well received. I really wanted to make this movie right, so I took a small step. Therefore, it took a lot of time. It was a big responsibility for me, so I am very happy and relieved.
Willem is alone for most of the film. He is very silent. His body deviates a lot from his language and how he interacts with the apartment he’s in. What strikes you most about how charming he was without another actor having to bounce back? It is attractive even if only is reflected on the screen.
I will start by saying that he is a work of art himself. We all know he’s a great actor, but the best thing that happened in the movie is that he was a co-conspirator and co-creator. we worked together. He came up with great ideas, and if I had an idea on set, he would try it out right away. That’s why he cooperated on this film. It was a pact we made. We wrote a beautiful script and we knew it would make a good movie, but it needed to be expanded.
Creating a good environment and shooting in chronological order gave me the freedom to try new things unscripted. In the end, we ended up with a lot of scenes shot without a script. They ended up in the movie — I think 30% of them are in the movie. That is Willem’s greatest characteristic as an actor. he became a movie He was so involved in this film that I consider him a co-creator.
We were told that the film was shot in sequence, which is unusual enough. And using the script as a blueprint is also very interesting. Willem was willing to experiment, deviate from the script, and pitch his own ideas, but how did he gain credibility?
I think it started when we were writing the last draft of the script — I got Willem involved in it. So he was reading the last draft and exchanging notes about it. So our collaboration started before the shoot. On the one hand, I think he took a big risk. So, obviously, working with a director for the first time is… a big risk. But on the other hand, my responsibility was at a very high level. I couldn’t sleep at night during filming because I felt a huge responsibility, “What am I doing here?” If I do something, it has to be good so he’s not embarrassed to be in the movie, so it can’t be seen.
It’s very easy to see and visually very appealing. I love the image of how contrasting it is as he struggles to survive and tries to escape while in this gorgeous apartment filled with smart devices and priceless art – you can imagine All the luxuries. Can you talk about that contrast?
yes i really wanted to do that premise Robinson Crusoe — this castaway. I wanted to put this premise in the middle of a big city. The big difference between these stories is that in my films the main character is surrounded by life. He can see people passing by, cars, helicopters, other buildings, people in the building opposite. But no one can see him or actually help him. So that was something I really wanted to explore.
Then, visually, I wanted to have this dialogue between Nemo (the character) and the environment of the apartment. Because the apartment is a co-star in the movie, a reflection of something that doesn’t exist (the owner). As such, the apartment had to be designed to reflect the owner’s personality and personality. Therefore, these are he two entities to conduct a conversation. That’s why it was necessary to envision a legitimate art collection that reflected the aesthetics and personality of its owner. That was the trip we took for it.
You have a closed-circuit television feed that Nemo is watching. It’s a kind of voyeur where he looks at the cleaning lady and is in a way obsessed. What did you find most interesting about allowing him to see the rest of the world while he was trapped?
In the movie, we needed either Friday or Wilson. I think CCTV works like Friday on Friday, especially when it comes to cleaning ladies. Robinson Crusoe or wilson cast awayNarratively, that was the vehicle. And also, for him to see life, it’s still in this building. I see them every day. He understands their schedules and makes stories with them. With the TV not working, he can only get pixelated porn and this telemarketing TV show. [but] He has no entertainment because they are all jumbled up. So an entertainment device, he also works as a CCTV.
What I noticed is that the character’s name is Nemo, but he also ends up interacting with fish like the fish voiced by Willem in Finding Nemo. Was it a coincidence?
Like much of the movie it was a really happy accident.It was interesting because the story behind it is in a fish tank.I had to be with salt water to be unable to drink it. There was a tropical fish for this fish collection. It was funny what he said to us while we were filming. It’s the same as Nemo in movies and anime. i didn’t know that. It was unintentional, but with so many people commenting on it, it worked perfectly.
You mentioned that this is your first work of fiction and that you have made documentaries in the past. When you’re watching it, it doesn’t feel like your first feature — it’s shot and composed with great confidence. What was your biggest surprise or challenge in preparing for
To be honest, I’ve only shot one documentary. I am not a documentary director. I’m shooting a commercial in Greece and that has helped me a lot. Aesthetically, it helped me too. It was a difficult shoot on a tight budget. I had to be very smart and very fast in designing my shots.
The cinematographer of this film is Steve Annis. Coming from a commercial job, that’s what we found together was that we could shoot more things faster. I was. When you’re shooting a commercial, you have to do a lot in one day. So that really helped me make my first fictional debut. But I learned a lot after that, and I learned a lot from Willem during the shoot. It was an amazing thing that happened to me too.
It’s hard to imagine anyone other than Willem playing the role of Nemo in this movie. Was he your first choice?
When I was thinking about the movie… It sounds arrogant to say, “Yes, I’m going to make a movie. This movie will be made with Willem Dafoe.” I mean, someone will slap me in that moment, you know what I mean? Of course he is my first choice. I mean, 13 years ago, I remember a journalist writing me an article for a commercial. And I said, “Willem Dafoe.” And I found it again half a year ago. I completely forgot about it. that was what i wanted to do. He was my dream actor to be in a movie. But when things started coming together, yes, he was the first choice. And it was my dream to do it, and the dream came true.
Post Interview: Vasilis Katsoupis, the internal director on the series shoot, first appeared on ComingSoon.net – Movie Trailers, TV & Streaming News & More.
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