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NARRATOR:
Sigmund Freud and his followers were discovering the significance of
talking about one's emotional distress as a way of working through it.
The goal of this technique was to locate and release powerful emotions
that had been rejected or repressed in the unconscious mind.
Carl Jung used this treatment on his patient, Sabina Spielrein,
situating himself behind her so that she could not see his face.
This was for the benefit of his patient,
who would not be able to monitor his reactions as potential judgments.
This came to be known as the "talking cure,"
which is wildly regarded as the basis of psychoanalysis.
SABINA SPIELREIN:
it suddenly whispered something in my ear. I couldn't...
hear what. And...
And then...
DAVID CRONENBERG: Why not? KEIRA KNIGHTLEY: Oh, what the heck.
- Last New Year's Day...
he flew into a terrible rage, and he took my brother, Isaac...
and...
and he beat...
he beat him in front of everyone. And then I...
I...
CARL JUNG:
There were times, weren't there, when he did beat you?
- [WHISPERS] Yes. I liked it.
- Would you repeat that, please? I couldn't quite hear.
- I liked it. Before long, he only had to tell me to go to the little room and I would...
start getting wet.
DC: You are obviously...
KK: Mental. - Yeah.
- Good. - So, yeah, obviously,
you can't move out of those chairs. So... And I think
this position is really quite good. It's non traditional.
I think the tics are... These are not tics, you are becoming a demonic creature.
- Weird creature. -Yeah. And I say, let's go for it. - Wicked.
- Completely. - O.K.
DC: Peter and I have to just figure out the specifics of shooting it.
To get all the good stuff out of it.
PETER SUSCHITZKY: I don't think we can get much wider than this.
Because of the wall. And, last question...
the window. - Let's say it's green screened.
- We don't see it all the time. - No.
PS: We see it some of the time. DC: Yeah.
MICHAEL FASSBENDER: It's a mad patient against the window.
DC: So, would you rather have...
PS: Something like that... DC: Yeah.
KK: It's your wife. "What are you doing?!"
O.K., let's bring in final touches.
DC: We've got two questions... Is it better on this side or this side?
I’m not worried about actors at all obviously.
And we have the green screen behind her at all times.
Money running out. Take a look.
I'm thinking of the expressiveness of Keira's face.
This you can see more of it from there. PS: Yeah. O.K.
DC: Good to go, Peter? PS: Yes.
KK: I think I was wrong about where the tic should go.
I have to get it before 'beat' because 'beat' is the trigger word.
DC: Yeah. I think you're right. KK: Cool.
[MUMBLING LINES]
DC: So, I think we should begin this, Michael, with the...
"Were you naked?" because it just gives you a run into it.
KK: That'd be great.
- Alright, nice and quiet, everyone, please.
- My hands ended up up, didn't they? Were my hands up?
- Yes. - Close to your mouth.
- Oh, close to my mouth. - Yes. - O.K.
- Here we go.
And...
- Roll sound, please. - Rolling.
- Forty four, take one, scene four nineteen.
Set. Action.
CJ:
SS:
- Yes.
- Last New Year's Day, he flew into a...
terrible rage, no one could understand why.
He took...
my brother Isaac, and
[STRUGGLING]
And beat him in front of everyone. And...
- Cut. - Great.
- Yeah? - Yeah. I have no notes.
- Bring it down?
- I don't think so. - I don't think you can, can you?
- It's one thing if you have a patient who is talking and is relatively calm,
but when you have someone who's facial distortions and movements
and everything are really...
a major part of how they're expressing themselves,
it's quite odd that you would say,
"Yeah, I'm gonna sit behind you, and not look at you."
-Yeah. - "Because I want you to not notice me."
But it's odd. - Yeah, it's weird. - And this really shows that up.
I think in a terrific, interesting way, but, you know?
MF: That's what I was thinking about - how this sort of, you know,
how much it's expressing itself physically.
- Yes! - That's a major component of it. - That's why I wanna shoot from here,
because you'll see some of it. I basically want to see your point of view of her.
Yeah. I really think that where Michael's...
Right where he's sitting is the best angle.
MF: Do you want me to operate that, yeah?
PS: Yeah! Please! [LAUGHTER] MF: Good.
- Action.
CJ:
Would you repeat that, please? I couldn't quite hear.
- I liked it.
It excited me.
[WHISPERS:]
I'm vile...
and...
filthy and...
corrupt. I must...
I must never be let out of here.
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