Tarsem Singh

I did most of his commercials and videos, and then I did Bing John Malkovich during that five-year period.

And I also worked with other directors like Tarsem.

Yeah.

And she kind of did it differently.

Yeah, Tarsem.

Tarsem Singh? Yeah, Tarsem Singh.

But I think the cell was his, yeah, it was his first feature.

So, and actually I could have guessed that simply from, they got the composer that literally just did an Oscar movie and then did an Oscar movie three years earlier and has done nothing but massive, massive things.

I was thinking of that final shot, and this would be mixing directors, but it had this very...

I don't know why, but I had this Tarsem kind of thing, where it's like, it's a very stylized and beautiful shot, that last shot.

It feels like something like that.

Visually, there's certain images throughout here, like him in the cemetery, and there's a lot of great visuals in here.

The Fall.

Tarsem Singh's incredible, incredible visual masterpiece.

If you guys haven't watched The Fall, watch that ASAP.

It's been on my list for a long time.

Yeah.

Go back to our Tarsem and Ferner episode.

We do a, a nice run-through with Katie Brady on that.

Mm-hmm.

It's very and

this isn't just the gadgetry, but it's just very Tarsem Singh to me where it's just like, yeah, it's these very theatrical images.

And, you know, and leaning into that.

But there's very rarely anything that's that's super interestingly done with them.

It's not using shorthand to just tell me, like, that's a computer.

The characters interact with it in ways that are more tactile and, you know, kind of more interesting on screen.

I come back to the Tarsem Singh of it all where it's like, oh, you can visually establish something that can be anything you want as long as you make it feel like it adheres to some kind of logic on its own.

And like the flying ship thing when they're inside, it's like, oh, yeah, there's just like, you know.