[laughs]

I w- I got so fixated on trying to find a submarine to shoot on, and that was like my...

I was just, like, bee-lining, like, tunnel vision for that.

And then, um, you know, I was reaching out to, like, um, a friend of mine shot a-- He built, like, a submarine set in his, like, mum's backyard out of a rainwater tank.

We went to check that out.

Like, these things, like, we had them in the cut originally, but they didn't quite make the cut in the end.

Um, and then I was reaching out to, like, cruise ships asking if we'd use their engineer room while they were docked in Adelaide.

[laughs]

Talk to me about how you kind of like handled those moments of conflict.

Yeah.

Oh, that's a good, cause yeah, like stuff like that.

I'm just like a purely non-confrontational person.

So I find those sort of conflicts really difficult to manage.

So that was my reaction to that was pretty, you know, step away and let it resolve itself.

Right, right, right, right, right.

i love it well i mean is that an element of the film you're proud of and is there another element of the film either one really that you look back at and feel like your craft your style who you are as a filmmaker are really representative in that moment

There's something I feel like, you know, intangible or something I can't quite put my finger on that clearly makes them different than Hollywood that I think is aside from production values.

Yeah, it's the asylum magic.

They've got like, Like a list of rules.

Yeah.

So they've got, like, specific sort of, like, criteria.

They shoot on very specific cameras, which are hard to find in Adelaide, which is tough.

They've got very specific, like, ideas of how each shot should be framed and how shots need to be continuously moving and, like, haze and stuff like that.

Do you think of them differently now that you've been on the inside?

And he tells it better than I could.

When I initially reached out to you in silence, it was like, we had a Zoom chat and I still remember it because it was just insane.

But it was like, I emailed saying like, I'd love to have a chat with an idea.

And he was like, yeah, sure.

Let's jump on a Zoom.

And we had like a five minute Zoom call and we're just like, yeah, just crapping on about stuff for a few minutes.

And he's like, all right, what's your idea? Like, I want to make one of your films and make a behind the scenes documentary about it.

Who unfortunately died.

So, I mean, they're a really interesting

enterprise.

They are.

And they know what they're doing.

They get what they're doing wholly, but they still love their films.

There's always this weird sort of, like, dissonance between them.

But they kind of fell into the...

What was your approach to shooting the making of? Was it just roll on everything? It seems like sometimes there are two cameras too.