Dylan Southern and Benedict Cumberbatch on the Power of Analog Filmmaking

I wonder what Crow would sound like because you have you put together the voice in your head of what Crow sounds like, especially because that language is so specific to it. And I find myself not missing the language so much anymore because I liked hearing that vocalization and how just assaultive it was and also the way you treat Crow in the films that we don't really see him at first and it's like the moments of extreme grief you're so close you can't really get a full picture of it anyway. And so you need distance from it which we get by the end of the film. I think there's so much kind of wonderful calculation in all of this. Yeah I mean it was there was a lot of thought that went into that. I mean part of it was you know how much screen time can a guy you know because I wanted to do this for real. I wanted it to be a physical presence for Benedict and the boys to be able to act against. It was never going to be a CGI Crow so. I wondered about that. Yeah and I'm a huge like I mean we're both 80s kids so like monster movies and guys in suits is where we're at and it feels like you know this is a film about such a heavy subject that kind of weirdness and off-kilterness and just strangeness of Crow. Some of the scenes in isolation I remember sitting in the doing the sound mix and we were looking at a particular scene and I was just this is so silly like out of context of the film. But that's the thing that's brilliant about this book and also but it's this is analog it's not digital which is a hard that's a hard thing to live in a digital age and I imagine certain people were having impatience with it and I'm fine with that. But you know we were very honest about what it is. He's an artist. He's not. Well not so you don't. Of course you're an artist. But they're graphic artists. They're people who do stuff on the screen. I know. Trust me I work in a lot of realms where. So I hear what you want to talk about here. No we're not talking about that. I'm not for raising myself up to some sort of ---- by saying I am or I'm not. Well they haven't heard but don't mind them. Please please yourself. I'm not going to. I never do. I mean I'm not Tom Holland but Jesus Flongers. Some of the narrative. It's just you know I'm an actor. But no. The point is that is also artistry as I've on many occasions. But this. This is this hand eye coordination with something textile you know fashioned from a simpler medium. There's not another sort of cypher through it. It means that the guy in the suit is kind of that's kind of the way it has to go.