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you
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hey you had call oh it's not for me
probably looking guy named Simon it's me
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the double is about a mild meat man
called Simon type i jesse eisenberg who
worked in a strange lonely corporation
and his so invisible and ignored by
everyone there that no one notices him
he and all the creepy guys here again
hey creepy guy he is obsessed with this
woman called Haller which may have asked
Oscar plays and is in love with her and
obsessively watches her and then one day
assignment exact replica appears his
doppelganger and no one really notices
then this doppelganger starts taking
over his life with hilarious
consequences have you spoken to the new
employee James yeah sure minimum but did
you notice anything strange about him I
mean did he remind you of anyone who did
you have in mind
what'll it be I'm Stan a coke a coke in
your scrambled eggs don't serve
breakfast in the evening what do you
still have eggs here yeah and you have a
frying pan yeah just give me the damn
food James and away side egoless
unburdened with all of the things that
make Simon's life so hard he's not
neurotic is not worried about people
think about him it's more a lifting of
all of the things that mean that you get
in the way of yourself you really think
she's looking at me yeah yeah alright
now look your lips what sure the tongue
but be careful not to look like a lizard
cut the source material is dashefsky
novella which manages to be funny and
slightly paranoid and I guess prefigures
kefka and that sort of sensibility so
it's not like a flat-out horror film
not flat-out comedy I mean the book is a
sort of descent into madness and more
about kind of puffed up bureaucrats
feeling humiliated that he's not being
recognized and that's an element of the
story but us it was more about the
doppelganger interceding in this
romantic relationship becomes like the
strange love triangle between two sides
of one person and the woman that they're
obsessed with I don't know I would have
never done that
you don't like eggs no I mean I just
don't think I'm feel comfortable talking
to someone like that she's a waitress
she's here to serve us if you don't tell
her what you actually want how can she
do her job no I can see that she can be
a little short sometimes and I do think
being forthright certainly has its place
and I'm not like criticizing your
behavior or anything here's your coffee
beer and your breakfast the whole point
is that there should be no physical
difference between these two characters
yet for some reason everyone gravitates
to one rather than the other we need
someone who's able to I guess give that
life in a way that would work and be
convincing and Jesse he's able to
differentiate characters very subtly and
he's one of those actors who's able to
be technically very precise as well as
being emotionally engaged the tricky
thing is when they're both in the same
shot together at work with Richard for a
long time it's probably about 10 years
now a lot of the work we've done has
been developing looks making footage
look of a different era or of a
different time or sometimes like the
visual effects look intentionally bad
but the double had to look real look
like there were two people the bigger
challenge really was for Jesse as an
actor to have to play off himself when
he wasn't really there but for us was
many green-screen so we weren't keying
him off it was all rotoscoped wherever
two people were in the same frame one
have had to have been cut out using body
doubles and then removing that person
and putting Jesse back in just a
combination of a lot of care and
attention and detail
the technical aspects of it are not
particularly different to George Melly a
or you know an old Betty Davis film it
still split screen and and when the
camera moves its motion control which is
a computerized system whereby the camera
can move along a track and a computer
will remember that exact move so you
film things multiple times then you
overlay these layers the difficulty for
Richard is they would shoot Jesse as he
thus Imanol James first and then they'd
have to select a take there was the
favored one because that was what the
motion control rig was then going to do
has its next pass and then Jesse would
have to switch into being the other
character you know Richard's having to
make decisions there and then on set
about which take was gonna be the
favored one for at least one of them
there were obviously technical issues
that would get everything okay is the
motion control going to line up but more
importantly Richard was concerned about
the dialogue does this feel okay the eye
lines all right because there's almost
next to nothing we could do about that
that wasn't in Cameron thankfully
they've got it and I think that's great
and it seems to work really well
the look of the film is very distinct
Richard had quite clear vision of what
he wanted this world to be this is an
allegory it is quite otherworldly very
stylized
no sirki this is the big push I didn't
know the film set in a non-specific
world so it's meant to look like how in
the 50s if you had a program predicting
what the term of the century would be
like this is what it happened look like
so it's not something that historically
has ever existed and neither is it
something that will exist in the future
the idea was to create something that
looked kind of obsolete and inescapable
and had a sort of dreamy nonspecific
quality and because there's something
slightly fable-like about the idea of a
doppelganger it's an impossible thing
and so we wanted it to take place in a
in an environment where you are not
being given a lot of signifiers leading
you to real world
there's a science-fiction show in the
film that Simon watches that has Paddy
Considine as a of noirish
science fiction cop who's battling his
own double a lot of design work we had
to do designing the replicator TV shows
well as company inside the TV the whole
thing needs to be seeing there's a lot
to it obviously you would never
appreciate because it's sat there on a
TV screen for most of the film but a lot
of work went into that chewed up you
want to die on the ground like a snake I
like it in films when people watch
things because it often feels that films
are weird get home which no one consumed
major of any kind and then it's nice to
make those things so you know it's not
just CSI in Miami of them holster your
blaster Jack there's a few shots of
external set extensions so Richard was
very keen that we never saw sky that
these buildings felt almost impossibly
tall or called quite claustrophobic so
you never saw any sky around them there
are scenes that take place during the
day but because where they work is
underground you have no real sense of
daylight that's partially because the
film has a nightmarish feel I get them
like after hours is all at night and
that sort of mounting paranoia and
absurdity seems to play better not in
daylight so all of those details and the
look and the design of it all help you
get into a certain mindset and help you
experience the story in that way the
cesky was seeing something that was very
innovative psychologically something
that was taken up later in Freudianism
and young of the idea of that divide
itself and the shadow and writing with a
kind of first-person sensibility about
the schizophrenic state you know and
it's relevant when you read some right
now you just fall in love with it and
you just want to kind of pursue it that
felt truthful
interest
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