![]() ![]() But I think you have to try because I think that sometimes it's a matter of you yourself communicating. SONG: Well, I think that one has to try, right? But I think that it is also a matter of, does this person think that they know how to tell the story better than me? Because I feel like at the end of the day, they have to believe that you're the right person for this authorship because otherwise, then it is really hard to imagine being able to commit to somebody in making something when they don't necessarily believe that you're the right person for the project. So you didn't have this experience on this project, but I am curious, when maybe someone has a limited imagination during the pitching process, is that an immediate red flag for you or is there anything you can do to not change your vision, but rather, expand theirs? For a studio, I think that they gave me such complete authorship and auteurship on my very first movie, and I think that requires so much trust and willingness to take risks. But I know that at the end of the day, the thing that they feel so connected to about the project is my vision for it, too. SONG: Well, I think that a part of it is about exactly the thing that you're talking about, which is the authorship or the creative control and a creative say in the process, and who is going to allow me to thrive in that, and who is going to have a communicative relationship to me where I can always draw from their experience? I feel like when I think about Killer Films and 2AM who are my producing partners, I'm looking to them for their decades of experience in the act of making a movie and making a movie in New York City, right? And I think that, to me, that really is at the heart of my relationship to them. What signaled to you that you had found the right producers, the right creative partners to support that way of approaching your work? I read a quote from you that said, “The main thing that I believe as an artist is that I cannot let other people’s limitations of imagination dictate my imagination.” As a film consumer, that’s a very exciting and appealing approach to me, but I imagine sometimes it can be a challenging thing to communicate when looking for the partners and resources you need to make a movie. Getting into Past Lives, I wanted to touch on working with A24 and the other companies involved. ![]() And I think that's the part of the collaboration, being a collaborative leader who has leadership and authorship, and I think that, to me, is something that I learned from Rafe, and I think on it so fondly. It's actually more about taking responsibility, and not just taking responsibility for everybody’s well-being and their creative process and everything, but also you're taking responsibility for how good the thing is going to be. Something that I learned from Rafe is that leadership is not something where you're trying to walk around saying that I'm a leader, or speaking like a leader, something like that. I feel like when I think on that experience, I think that the most important thing that I learned in that process was leadership, which I learned from Rafe. He read my script, and he hired me as a staff writer. So, I think that that's really all it was. I think he read it, and he does not play poker himself, but he felt like the way that I wrote about poker, he loved the script, and he thought it displayed an ability to go through kind of a dense world and to make it clear. CELINE SONG: Well, I think that the way that it came about is I had a spec script that was about professional poker players that I think was submitted to Rafe Judkins, the showrunner of that show.
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