Transcript (en)

Working with David was like the great privilege of my life. I think he's one of the absolute greatest filmmakers ever to live. I love him. I fell in love with him and got to know him and adore him. He really is one of these few people who has the taste of an artist and the mind of an engineer. Those things don't typically seem to come together. Before I'd worked with him, he had made masterpieces. I think Seven is probably a perfect movie. And he is a master. So every movie that he does is done masterfully where you feel the sense and it's like you can relax so this person's taking me somewhere specific and deliberate and and it's gonna work you just get to let go I don't ever have to worry for a second about anything other than what that person's asking me to do and I was willing to do anything for him you know like be naked whatever like fine you know what I mean I just wanted to be in his film because I believed that it was going to be great and I learned an enormous amount from David. Through repetition, you know, he creates a sense of total freedom because he's going to do it many times that you just lose any sense of artifice. I often say to him, like, are you looking for perfection? He was like, I'm looking for mistakes. And that was incredibly revealing and telling. I sort of grew up in a way finally on that movie and felt like, oh, oh, now I understand what this is. There's parallels to Gone Girl, now that I think about it, to animals in the wanting to explore the nitty gritty of relationships in ways that movies don't often permit or want to do. How close do you need to be? How intimate, how vulnerable do you need to be in a marriage? Yeah, now that I think about it, I probably owe a lot more to Gone Girl than I even thought.