Meek's Cutoff

And yeah, that it just felt very exciting.

All her references were things like, um, Andrea Arnold's Wuthering Heights and Meeks Crossing and these kind of really, um, textured and raw landscaped spaces where we see the characters really living amongst the nature of the, you know, of the landscape that they're in.

And yeah, for me, that's what drew me to this sense.

'Cause, you know, if you're going to adapt a, a source material that has been done so brilliantly before, you, you have to find a new way of, um, discovering it and, and Georgia's vision-

being in an environment and just kind of letting these people exist and you know find their way that type of thing but um well i think right also is good about like

she will not let you immediately hit the beats of the story that you expect that you're like there are parts in First Cow or Meek's Cutoff where you're like, wait a minute, is this the inciting bit of the story? Wait, is this what the plot is about? Where, again, and then you get kind of lured into it.

And that's what I love so much about The Mastermind is sequences like that where you actually have to play by the film's rules.

You have to play by her rules in the movie and not go into it with the expectation of like... well, this scene has the lead to this or this, you know, there's just an organic kind of like natural tempo to her movies that I find really relaxing.