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Awards

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The question Jacques would ask every day, “What is the sound of my movie?” We didn’t have the answer, but we did a lot of things to be sure that in the end, he would have the answer. So coaches were there when you needed them. When you need a live musician, we’ll do playback now we’ll record it when we are shooting. Now we will do it in post. I was one to coordinate all these things.

I think what is important for me is the relationships of the characters and the journey that they go on. I wasn’t interested in spending my time or the audience’s time explaining everything that happened and what would happen afterward. I think it’s more interesting to let the audience figure it out themselves. I think you have to pay attention and then you become more engaged in the story. That’s a lot more interesting than explaining directly what happened.

I think the fear was that it was going to be so chaotic that they over-prepared to the extent that they were ready. The days were pretty tight, and the chaos worked. So to the extent a day felt a little off or things were difficult, I think it probably felt that way in 1975, trying to get a show ready in an hour and a half, and in that way, you could just kind of lean into it and use it.

June created this atmosphere on set where it completely felt like a family, and we felt so free to do whatever we wanted to do without judgment. She trusted us. I felt completely free to explore. But the thing about her too is her performances don’t seem theatrical. Looking through the viewfinder at her face, and oftentimes I’m this close to her face on a wide lens and the nuances of her performance, it was like I would get shivers.