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Thursday, February 27, 2025
Wednesday, February 19, 2025
NEW PROJECT: Kristen will star in Dylan Meyer's directorial feature debut 'The Wrong Girls'
Deadline Kristen Stewart (Love Lies Bleeding) and Alia Shawkat (Blink Twice) will topline The Wrong Girls, a new Neon film marking the directorial debut of Dylan Meyer, which is up and running in Los Angeles — one of the first indies to kick off production following the devastating wildfires.
Others in the cast include Seth Rogen — who also produces via Point Grey — as well as Kumail Nanjiani, LaKeith Stanfield, Zack Fox, and Tony Hale.
Written and directed by Meyer, the film follows Frankie (Stewart) and Molly (Shawkat), codependent best friends living paycheck to paycheck and bong rip to bong rip, when a case of mistaken identity throws their lives into chaos. Neon will release the film in U.S. theaters and also reps international rights
The film will be produced by Maggie McLean, Stewart and Meyer for Nevermind Pictures; Alex McAtee, James Weaver, Rogen and Evan Goldberg for Point Grey; and Allison Carter and Jon Read for Savage Rose Productions under their production and development partnership with Neon. Overseeing for Neon will be Jason Wald, EVP Acquisitions & Production, Claire Timmons, VP Talent Relations, and Kate Gondwe, Manager ADP. The deal was negotiated with WME Independent and UTA Independent Film Group.
The Wrong Girls marks Neon’s third film with Stewart following Pablo Larraín’s Spencer, which brought the actress her first Oscar nomination for her turn as Princess Diana, as well as David Cronenberg’s Cannes selection Crimes of the Future.
Coming off of rave reviews for her turn in Rose Glass’ Love Lies Bleeding, Stewart will next be seen in Michael Angarano’s road trip comedy Sacramento, out April 11. She’s wrapped production on her feature directorial debut, The Chronology of Water, and will also soon be seen starring in Panos Cosmatos’ vampire pic Flesh of the Gods opposite Oscar Isaac, as well as Amazon MGM’s limited series The Challenger on astronaut Sally Ride.
Shawkat has recently been seen in Zoë Kravitz’s acclaimed directorial debut Blink Twice and the second season of Apple TV+’s Severance, as well as the buzzy Sundance drama Atropia, which won the festival’s U.S. Dramatic Grand Jury Prize.
Meyer produced Stewart’s The Chronology of Water and is otherwise perhaps best known for co-writing the Amy Poehler-directed dramedy Moxie.
Neon is the studio behind Sean Baker’s Palme d’Or wunner Anora, which is currently up for six Oscars, including Best Picture. The company also released Mohammad Rasoulof’s The Seed of the Sacred Fig, which is up for Best International Feature, and this weekend unveils The Monkey, filmmaker Osgood Perkins’ anticipated follow-up to Longlegs. Other upcoming Neon productions include Boots Riley’s I Love Boosters, David Robert Mitchell’s They Follow, and Michael Covino’s Splitsville.
Stewart is repped by WME and McKuin Frankel Whitehead; Shawkat by UTA, Mgmt Entertainment, and Lichter, Grossman, Nichols; Rogen by UTA, Principal Entertainment LA, and Felker Toczek Suddleson; Nanjiani by UTA, Mosaic, and Schreck Rose Dapello; Stanfield by CAA, Stark Management, and Ginsburg Daniels Kallis; Fox by WME and Elixr Global; Hale by UTA and Hansen, Jacobson, Teller; and Meyer by UTA, Anonymous Content, and Hansen, Jacobson, Teller.
Indiewire Kristen Stewart has found the right co-stars for her upcoming feature “The Wrong Girls.” Stewart, who co-wrote the film with her fiancée Dylan Meyer (“Moxie”), will also star in the feature and produce it. “The Wrong Girls” was announced in 2023, with Stewart describing it as a “stoner-girl comedy” at the time. Alia Shawkat will also star in the film; Stewart acted alongside Shawkat in “The Runaways” in 2010.
The supporting cast also includes Seth Rogen, Kumail Nanjiani, LaKeith Stanfield, Zack Fox, and Tony Hale. NEON will release the film theatrically in the U.S. and represent the international rights.
The film is Meyer’s directorial debut. The film follows Frankie (Stewart) and Molly (Shawkat), two codependent best friends who are living paycheck to paycheck and bong rip to bong rip, when a case of mistaken identity throws their lives into chaos.
Stewart told IndieWire while promoting “Love Me” that she is “doing backflips” about having “The Wrong Girls” go into production.
“Dylan wrote that script, ‘The Wrong Girls,’ years ago and we are producing it now,” Stewart said. “We start shooting in two weeks and I’m like doing backflips about it. I’m so excited we get to shoot in L.A. and that in and of itself seems like a fantasy. Alia Shawkat is my other ‘Wrong Girl’ and we’re putting it together, like in quite a literal way, right now.”
Production began in early February. The feature is one of the first independent films going into production in L.A. amid the recent devastating wildfires.
Over the course of the film’s 29 day production, the film will employ approximately 100 people per day, 95 percent of which will be local L.A. residents, including Emmy-nominated cinematographer Todd Banhazl (“Winning Time”, “Hustlers”), singer-songwriter and composer Ty Segall, and Emmy-nominated costumer Heidi Bivens (“Euphoria”). Philadelphia punk band Mannequin Pussy will also bring their explosive energy to the film with a live performance at a long-shuttered Los Angeles DIY space.
“The Wrong Girls” is NEON and Stewart’s third collaboration together following Pablo Larraín’s acclaimed Academy Award-nominated 2021 film “Spencer” and David Cronenberg’s 2022 Cannes Official Selection “Crimes of the Future.”
Sunday, February 9, 2025
Thursday, February 6, 2025
Kristen talks 'Love Me' and more with The Playlist
What is “real”?” It’s a question many of us have certainly asked ourselves, maybe while daydreaming. How do we define reality? Are our personalities formed organically from ourselves? Or are they a simulacrum of our experiences, our environments? How can we expect someone to love us if we cannot find the truth about our own personhood? These are the heady questions the new romance “Love Me” explores. It would be easy to call “Love Me,” starring Kristen Stewart and Steven Yeun, a rom-com.
It is very funny, but if you’re walking in for an easy date night romp between two of our great living actors, be prepared to spend time parsing out the Big Questions. This isn’t your typical girl-meets-guy, and they fall in love. Oh no. “Love Me” finds Kristen Stewart’s buoy and Steven Yeun’s satellite having their meet-cute at the end of the world.
The buoy, “Me,” as she calls herself, gains sentience after a quick internet scan. Desperately seeking connection, she lies to the satellite (“Iam”) that’s been left behind to scan for lifeforms on a dead Earth and says she’s a living being. As the two strike up a friendship and then a relationship inside a nebulous virtual space created by Me mapping their personalities onto a long-dead influencer (Deja) and her husband (Liam), those Big Questions begin to surface. Is Me really her own “being?” Or is she simply a construct destined to exist solely as a replication? Where does the truth of Me begin and the fallacy of Deja end? Is what they’re experiencing truly love? Or is it something Me’s created and forced Iam to adhere to?
Husband and wife directing duo Andrew and Sam Zuchero’s feature debut finds a lovely balance between existential head-trip and delightfully charming. As much as it forces you to ask yourself how we create, well, Us, it’s also a lovely two-hander full of big laughs and an even bigger heart. Who better to explore that than Kristen Stewart? Stewart, an actress who finds worlds of truth in every role she attacks, is perfect for sinking into something so head-spinning. Whether it’s giving a best-of-its-decade performance in something like “Personal Shopper” or getting down and dirty with some action-horror in the very underrated “Underwater,” Stewart brings a kind of lived-in depth to her work that you rarely find with most mega-famous stars. She can play a world of emotion in one glance, she can hold her own with screwball-comedy patter and is always so in control of her craft in ways that feel uninhibited.
Stewart has a way about her where she often seems to be searching for the right thing to say within her performances; she accesses this interiority in even her most out-there roles. Here, as a water buoy grasping for humanity, she’s spectacular. Every pause while Me tries to understand her place in all of this, every manic burst of energy as she discovers a new aspect to “living,” it’s all so considered while never once losing sight of the truth.
What is truth, then? Authenticity? To find out, Brandon Streussnig sat down with Kristen Stewart for a brief chat about what it means to be “Real” when the word of our moment constantly circles back to “Fake.”
Your work often finds such authenticity in every role you take on. What are the challenges of playing something so inauthentic, even beyond the robots and into the performance of influencer culture? How do you approach that kind of artifice?
I mean, artifice can be more revealing than when somebody is, you know, under the sort of impression that they are trying to express a truth. I think there is something inherently difficult about that. That’s why we have art. It’s tough to identify what the truth is. It’s such a transient thing. It’s not black and white. And I feel like when we were doing some of the more seemingly inauthentic stuff, we were stepping away from any scathing perspective. Because I think “fake” is… bad.
Like our culture, our experience is really inundated by this question of authenticity. And it’s the worst fucking thing. If you were like, “Hey, you’re fake,” I would be like, “Hey, fuck you.” (laughs) Like that’s the worst thing you can call someone is that you’re fake, lying, or falsely representing. When we were doing the Deja/Liam stuff, I stepped more into really liking her. Thinking of this kind of unaware, almost naive desire to help people believe in themselves, it felt like she was screaming into a void and self-defining.
When I say she, I know it’s a little silly. We’re talking about a person that we made up. (laughs) But I could tell that specifically about just scrolling the internet.; I don’t know that you can ever really be… not real. There’s a reality to everything.
To that point, how do you find the freedom to search for that kind of authenticity on screen, whether it’s a performance like this or anything else?
Usually, it’s filmmakers with whom you surround yourself. It should feel like an invitation, like a possibility. Being “allowed” is a generous gift; not everyone is good at giving it. I think I’ve gotten good at identifying when that’s there. I really just loved Sam and Andy [Zuchero] upon meeting them and reading their diving board of a script, which I thought was bold because it’s not proclaiming to know tons. It’s just- like I said, it felt like an invitation.
And Steven [Yeun], too. If you’re working with the right people, that person is a trooper. He will go anywhere with you, and I also feel like I want to keep up with him. Yeah, I think when you find yourself on set, and you’re locked in or something, like locked in your body, not feeling ready to sort of crack- oh, it’s the worst thing ever. You’re like, oh no, fuck, what am I doing here? (laughs) But yeah, I will say I’ve been fortunate lately. I haven’t had that experience in a really long time. Yeah, the right people and “bedfellows,” and you’re good to go.
This might be my own galaxy-brain sort of thinking, but I think whether it’s “Personal Shopper,” which is personally my favorite movie ever made–
Oh my god.
Oh yeah, huge favorite (laughs). So whether it’s something like that, where it’s grief manifesting into ghosts, or “Love Lies Bleeding,” where love can manifest into genuine strength, or even here, in “Love Me,” where the love between Me and Iam manifests into genuine humanity, however, you want to define that, what draws you to these esoteric or existential ideas?
It’s cool if the general consensus is that it’s more fun. That it’s more fun to grapple with ideas than to be prescribed (sighs) capitalist nonsense (laughs). Things are fully driven by people just wanting to make fucking money. You know what I mean? That’s the difference. I’m drawn to things that feel curious and audacious, and I’m definitely drawn to filmmakers that are aware of where the fuck we’re at and the acknowledgment of that.
Hell yeah.
Oddly, I think “Personal Shopper” holds hands with this movie because, in the end, there’s this question of what is real and how experience and perception define that. And we are all fucking lonely and isolated in our bodies and our consciences. And I think there is something to the sort of spiritual, mystical element. I hadn’t thought about those two movies back to back. They’re so fucking different, obviously, but they ask similar questions. And they don’t prescribe that. They absolutely urge you to think for yourself. And that is not marketable. (laughs) That totally makes sense. People crave sturdy ideas. It feels good to know stuff, but it’s also just ridiculous.
You mentioned that the filmmakers gave you more freedom to explore. You’re working on your first feature as a director. Working behind so many talented filmmakers, I wonder how that prepared you to take that on with “The Chronology of Water”?
It’s so funny. On bad days or days where I feel lost or out of control or like I can’t wrangle a vibe, which is the job (laughs), I ultimately picture these people’s faces and hear their voices in my head. I literally hear and see Pablo [Larraín] tearing his fingers through his beard, saying, “Keep it together. Keep it together. Keep it together.” And I’m like- I have had the most spiritual experiences kick-started by people who can create an environment in which you are yourself and can sprawl, which is not easy to do.
It takes a magic person and somebody who is also sort of insane because to claim that you can do that is egomaniacal. There is something monstrous about being like, follow me. (laughs) But I’ve just seen it work out so often that I think it can be an actual, beautiful, generous act of love if it comes from the right place.
My favorite directors are people who feel like family to me now, like teachers and mentors, but not in a professional sense, in a life way, like how to live better. Yeah, like Olivier [Assayas] and Pablo, not just because they’re fancy directors. They’re the fancy directors because they are great. So I’m just trying to bring some fucking love (laughs) because then people feel like they can fuck up and try things and discover.
This is a personal question for me. I recently moved to New York, but I was a lifelong Pittsburgh native. You’ve worked a bit in Pittsburgh. “Adventureland” means a lot to me, and I loved how you guys highlighted Lawrenceville in “Happiest Season.” You can be completely honest because that city isn’t for everyone, but what were your experiences working in Pittsburgh?
I love Pittsburgh. You guys shred cheese and put it on pizza. (laughs) I loved our crews. I loved the people so much. I still text my driver, Don, from Pittsburgh. It’s such a warm city- well, it’s actually freezing. (laughs). It’s a little gritty, which I absolutely love. The vibes are good. I fucking love Pittsburgh. I love working there. Yeah, it’s rad.
It’s the early days, and I’m sure you can’t talk much about this. But I know you’ve been attached to the new Panos [Cosmatos] movie, “Flesh of the Gods.” Is there anything you’re able to say about that yet?
Oh man, I wish. We are going to make that movie. I think Panos has just done something else. It’s like we’re all waiting for the right moment. It’s an honest endeavor. It’s highly ambitious. I think he has been designing this movie for years. He’s probably still in the thick of that process now. I don’t know precisely when we will go, in full transparency, but it’s not falling by the wayside by any means. It’s just something that might take a second.
Tuesday, February 4, 2025
Kristen and Steven Yeun's interview for 'Love Me' with Indiewire
For Kristen Stewart and Steven Yeun, the A.I. indie romance “Love Me” is almost indescribable — and that’s partly what makes the film resonate the most.
“Love Me,” which marks married directors Andy and Sam Zuchero‘s feature debut, premiered at Sundance 2024 and is now in select theaters. Stewart and Yeun play a disembodied couple over the course of a billion years: Stewart is a buoy named Me who then adopts the physicality of since-deceased Instagram influencer Deja in a post-apocalyptic world. Yeun is satellite Iam, who takes on the role of Deja’s husband Leo as the duo re-enact a series of YouTube videos.
Yet even the two lead stars couldn’t classify exactly what kind of film “Love Me” is.
For Kristen Stewart and Steven Yeun, the A.I. indie romance “Love Me” is almost indescribable — and that’s partly what makes the film resonate the most.
“Love Me,” which marks married directors Andy and Sam Zuchero‘s feature debut, premiered at Sundance 2024 and is now in select theaters. Stewart and Yeun play a disembodied couple over the course of a billion years: Stewart is a buoy named Me who then adopts the physicality of since-deceased Instagram influencer Deja in a post-apocalyptic world. Yeun is satellite Iam, who takes on the role of Deja’s husband Leo as the duo re-enact a series of YouTube videos.
Yet even the two lead stars couldn’t classify exactly what kind of film “Love Me” is.
“I think the movie itself is just, in a very cool way, really hard to pin down,” Stewart said, citing the various transformations of her character. “I think that’s the point. It’s very hard to define. It’s hard to do interviews about it. It was hard to talk about on set. We were always wondering if we were having the same conversation, like existential spiral stuff, and that’s, like, totally why we make movies. I just thought it was kind of a breath of fresh air.”
Stewart called the Zucheros’ script a “beautiful diving board” to portray how “desperate” people are to connect. And the best way of showing people struggling with that was to have the two leads be, well, not people.
“I wanted to be in a movie that starts off as just a lonely voice, and then finally sort of breaks away into some silly cartoon — which being a human often feels like — and then you go a little further, and you have weird makeup on,” Stewart said of why she joined the project. “You’re sort of doing an odd, human impression, and by the end, we’re shooting in 35mm, and we’re touching each other for real. I thought that was just such an interesting kind of experience to have. […] It just really prods at what it is to connect and how desperate we are to do so, with all of the shape-shifting we do in order to get close to each other and our own sense of self. It felt so daring to me, acknowledging that the truth is so transient instead of trying to make some groundbreaking statement.”
Production came with a few surprises for Steven Yeun once he realized just how abstract the film would be. An actual buoy and satellite were built by Laird FX for the film, with both Stewart and Yeun also having scenes in motion-capture suits for the animated portions. “Sims” and “Where the Wild Things Are” were among the inspirations for how the animation was later created.
As co-director Sam Zuchero told IndieWire in 2023, both actors were filmed for a month on a soundstage, which Yeun now recalled having some trepidation about.
“I remember getting into setting up my character, and I didn’t consider this until I got there, but there was already a set of limitations that existed for my particular character and as the actor,” Yeun said. “I was like, ‘Wait, how come I’m limited to these particular wardrobe choices and these particular constraints?’ Then I was like, ‘Oh, because so is Iam, and so is Leo.’ He’s limited to these constraints because he’s a part of this tandem in which there’s a dynamic happening. There was just this meta that kind of spilled out in this beautiful way. This is an exploration that keeps going. It doesn’t pin itself down, and I feel like it’s just this eternal mirror that hopefully just keeps resonating, but in the meantime, I’m still trying to figure out what it all means.”
Both Yeun and Stewart, though, assure that “Love Me” does not mean to make a statement about the politics of artificial intelligence.
“I don’t want to get too much into the weeds of some sort of like statement. I don’t think we’re planning on making that,” Yeun said. “If anything for me, I’ll just say personally, as a reflection of going through a project like this and just kind of seeing the world change, I don’t know if you can co-sign AI. I think if anything, AI feels like something that’s revealing to me what we embody. We embody AI most of the time. I think that’s what it’s revealing to me, and what was so fascinating and fun and scary about exploring the topic that we were in this movie is that what is ultimately human will spill forward. I really just think it just becomes this mirror.”
Stewart, however, admitted she is afraid of the lengths AI could go to.
“Artificial intelligence is smarter than us. I don’t know that we have the capacity to contemplate it enough. I certainly don’t have a grasp on its potential,” Stewart said. “I know it scares me. I feel like it’s listening now. I don’t even want to mention it.”
She continued, “I feel like it’s so egotistical also to sort of deem what is alive. We’re just growing out of the earth. We are like fucking organic material, and I don’t really know where the line is between what is natural and unnatural. It’s really not something I think the movie actually touches on in a literal sense. I feel it’s so much more emotional and human than that. I think the movie is totally a metaphor. It’s a kind of elaborate hypothetical that gets us onto an interesting thought process that is self-reflective. And, in terms of the AI thing, the movie actually brought me more into my body and less into the idea that we are becoming computers or that we might be melding or how we integrate. Blah blah blah blah blah.”
Stewart did know, though, that there were bound to be memes made out of “Love Me.”
“My friend, after they watched the movie the other day, said that we definitely won’t escape a certain [scene]. They predicted that a meme would be created for ‘I’m not even a buoy anymore!’ It’s so, so serious and earnest at the end and super emotional. Like, ‘Oh my God, what the fuck is this movie?'”
And that viral influencer dupe actually brings Stewart “great, great joy” to watch.
“The two of us [with Yeun] looking like that, it’s such an uncanny valley experience,” Stewart said. “It’s not wrong. I don’t know, it looks like AI. It looks like someone did that to us. And I’m like, ‘Oh, what a glimpse into an alternate reality. How weird. It could have been.'”
Yeun added that he’s actually been steering clear of the internet’s reactions to the film.
“I actually haven’t seen any of that,” he said. “I’ve been trying to be off [social media] for a while. Luckily, my kids are too young to send it to me because they’re not on it, but I am cringing at the thought of this, but also, kind of, maybe it’ll be cool. I have no idea.”
After “Love Me,” Stewart is focusing on getting her feature directorial debut, “The Chronology of Water,” which shot in summer 2024, into a festival. Stewart adapted the film from writer Lidia Yuknavitch’s memoir about her transformative experiences as a swimmer; Imogen Poots leads the indie, with Scott Free Productions among the backers. “The Chronology of Water” has been in the works since 2018.
Yeun has another long-awaited film finally out as well: Bong Joon Ho’s “Mickey 17,” led by Stewart’s fellow “Twilight” alum Robert Pattinson.
“I love director Bong,” Yeun said. “I’m just excited for people to see his giant dive into the deepest depths of creative consciousness, you know, the things that he pulls out, the things that he lets go of, the way that he surfs … where he’s able to like put his touch and then also just completely leave his hands up … It’s truly admirable. I’m excited for the world to get to see this.”
Yeun also stayed mum about a possible return to “Beef” or a cameo for the upcoming Season 2, which he’s executive-producing.
“Season 2, I’m more hush-hush about that,” Yeun said, adding that he would love to work with creator Lee Sung “Sunny” Jin again. And Stewart.
“I say that now like because you’re on the call and also because I really feel that way, Kristen, like that’d be so fun to do another one [together],” he said.
Stewart agreed, saying, “I’m not being performative, but … I have a shortlist. I’m coming for you, like, we’re gonna fucking work together. We have work to do.”
Sunday, February 2, 2025
Kristen and Steven Yeun interview with CBR for 'Love Me'
In this interview with CBR, Kristen Stewart and Steven Yeun get very metaphysical about their approach to their performances in this complex but, ultimately, sweet film. Directed by Andy and Sam Zuchero, the movie uses a hybrid of live-action and animated scenes. The Buoy and the Satellite are practical props, built by Laird FX. As the film progresses, the two characters occupy a digital space. As the characters evolve on their journey of identity, the animation reflects this by becoming sharper more, for lack of a better term, realistic. Finally, by the end of the film, Stewart and Yeun play their characters in live-action, signifying they've reached a level of being indistinguishable from humanity. How they get there is the interesting part, and it's equal parts funny and heartbreaking. Their answers have been lightly edited for clarity.
CBR: Kristen, in the beginning of the film, the buoy imitates an influencer named Deja to convince the satellite that she's alive. This imitation then leads to her developing her own identity. Did you approach this performance as different characters, the same character or some mixture of the two?
Kristen Stewart: There's like a congruency that ties us all together, like even the people that would seem to be coming from totally different sides of the earth. And so, I think that the buoy can be nothing other than me. And when I say 'me,' I really mean me, because my character is also called 'Me.' But it's just I can't be anyone else other than myself.
I think that [the Buoy] is able to look around and sort of be jealous of certain things that make living easier, make people like you. I think that all of us do that. All of us, undeniably, all the time. Even if you're self-assured or self-possessed. We don't exist without each other. I wouldn't know how to be unless I watched other people 'be'; in some way. And then I kind of chose my own path. So, all the characters are super congruent. I think they have a lot of overlap.
CBR: That's really lovely, and it ties into the message of Love Me, especially considering that films with influencer characters tend to mock them. The film treats Deja as sincere, and she inspires the Buoy to become that better, more complete version of herself.
KS: Yeah, we were trying to not be so scathing about our influencers, because they're just so [vulnerable]. It's like she is the Buoy. [Deja is also] desperately trying to connect, even though she's not being the most honest. There's an honesty in that.
CBR: Steven, your performance as the Satellite was so nuanced. Early in the film, you capture the tenor of an AI assistant. Which lessened over time as the Satellite becomes more aware of his own identity. Did you approach playing the character as he was always sentient and just didn't know it?
Steven Yeun: I don't know.
KS: Like awareness of the 'awareness.' (Laughs)
SY: I think. I didn't try to ponder too much about it. If anything, the experience itself as we shot sequentially was kind of revealing as it went. And I don't know if I got to understand what consciousness and awareness is from that angle, but I did think at first this satellite is pure function. And it thrives on being [just] 'function.'
It's almost as if it is glad to surrender to just being a necessity or a thing that is required of it. In that way it's in some sort of peace, actually. because it doesn't have to refer to itself at all. Its life is 'I just do this thing and that's what I do.'
CBR: So, it's like awareness is inflicted on the character against its will?
SY: To then be pulled awake by [seeing his own] reflection is its own jarring, crazy experience. [When he meets the Buoy] it's like, 'Oh, you know about me? Define me, please. Help me know who I am.' But then it's like, 'Wait. I don't think that that's who I am?' And then he wars with that, then comes to understand that the [the Buoy] actually freed him and pulled him out of his stagnation, in that way.
So, I don't know if it was this conscious step-by-step thing. If anything, that's what was so fun about playing with Kristen. It just fell forward and revealed itself, and the exercise was almost getting out of the way of the film, making itself in that way and so. That was a trip.
KS: It's like you need to be jostled out of his overtly defined existence. I don't know. Typical man! (Laughs) I'm just saying, dude is someone who just needs to say, 'Cool. I do this thing. I have a job. I'm very valuable and functional.'
CBR: Well, without getting into spoilers, the Satellite never actually stops doing his job, right?
SY: Yeah, I came back to understanding the beauty of that function, too. There's just a symbiosis with the paradox of function and identity, and I think to me, what I love about our film is that it doesn't really [definitively take a stance].
[The film is] the entire image. Especially because our world right now feels so literal and binary. It feels refreshing to experience something where you don't really know. I'm flexible, and I'm equally rigid as I am flexible.
KS: It's like when you encounter certain people in your life, and you suddenly feel kind of rocketed back to kindergarten. In which you are essentially fundamental to your own being, but also totally undeveloped. You're like, 'Oh, f---. Possibility' or, more like, 'I feel young around you.' I feel like these two people — because the movie is symbolic and a metaphor and obviously not based on reality — they go, 'Oh, we needed to find each other in order to sort of dislodge [from being just functional].'
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