Transcript (en)

The language as well is very modern. It's a very contemporary, easy to access way of speaking. I mean, you say dad rather than father. Sure. I mean, what's the thinking behind that? Because I wouldn't have even said father back in the day, would I? I would have been Greek. So it's no less correct. People bring, you know, when you look at this world, when you look at the ancient world, people tend to view it in weird ways. There's a lot of cultural prejudice. There's a lot of, yeah, sort of elevating it because it's old, you know, whatever it is. When you go to the poem, what you find is something that's really earthy and grounded and accessible. And so for me, in building the world of the film, what I talk to all the actors about is like, I just want to center it on that and make it feel very fresh for modern audiences and do away with some of those assumptions that aren't based on anything logical. They're just, as I say, cultural prejudices or things over time. There's a lot of stylistically, you know, aesthetically, people tend to look back to the romantic era and art. A lot of paintings where, you know, people aren't wearing very much. They've got a little bed sheet wrapped around them or whatever it is. A lot of classical architecture, even though that wasn't the architecture of the Mycenaean period and things like that. So, you know, we went back to what's in the archaeology. What does that tell us and what gaps does that leave? What do we know about Homer's time? How were things portrayed in the earliest possible portrayals of that? and looking at how do you create a consistent and accessible world around that that feels vital and credible and exciting to be in.