A BIG BOLD BEAUTIFUL JOURNEY Behind The Scenes

We have to go through. I think romance in general is some combination of magic and realism. One of the most beautiful things I've ever read. Got such enormous heart. It's funny and it's smart and it's real and it's also fantastical. If you really have an encounter with someone who feels like your soulmate or someone you really know there's some kind of spark, you know, it feels miraculous. You coming? No, I don't dance. I wish you would. Hey, Mark. Do you want the GPS? You want the GPS, David? I mean, I think first it was really one of the most original scripts that I'd read in a long time. You know, there was something so playful and fun about it. Sure. **** ya! Hey, what's this all about? Proceed to the root. There are all these wonderful twists and turns and you just don't want to stop reading it and it just gets deeper and deeper. You know a little bit in Born Identity where Jason Bourne realizes that he can be an assassin without remembering that he's actually an assassin. What's Jason Bourne? You know, what ended up being so funny and light and surprising just became so deeply moving. By the end I was just so moved by it and the possibilities of this story world. I'm running late. Are you really going to this wedding? Yeah, Mum. Where's David at the beginning? He's lost. He's fine with being lost. But he's quite a ways away from any kind of real contentment or any kind of real joy in his life. And then he goes to this wedding. At the start of the film he meets Sarah and everything changes. We finally look over and see each other and I think it's just a life altering moment knowing that you just locked eyes with someone who's going to be playing a huge part in your life. I think she's thinking either that's the love of my life or the person who absolutely destroys me. Probably both. No matter how this plays out it probably ends in me hurting you. What if I hurt you? I won't let you. For Sarah she's terrified of being hurt and making herself vulnerable and she's for years and years and years just built up emotional armour and I think she's done such a good job at avoiding being hurt that now she's found herself to be the person who hurts people and she doesn't like that either. I think they almost immediately recognise this person not because they know them but because that person is sort of a reflection of who they are at that moment. There's two people who on the surface are beautiful and seem like love would be easy for them but they both have sort of become cynical and pessimistic about that possibility. When they go through a door they're both going through that door and so either they're confronting something that they did or experienced or they're witnessing the other person confront something they did and I think that's so crucial to the love story because not only are they accepting things about themselves and learning to heal because of that they're accepting things about the other person which inevitably means they can love that person wholly, completely, truly love that person because they have kind of seen the sides of them that normally you wouldn't show to the person that you're falling in love with. I'm secretly a dork. You're secretly a dork. That's a secret. Yeah, not anymore. Margot and Colin, it was just to mediate their ability and not just on a superficial level of chemistry but really in a deep, soulful level of chemistry of two people who I think navigate the world in very similar ways. They share a lot of the same humor and they were so game for everything. I think day one, you know, they're on the ground you know, like playing out the post-crash scene. Their ability to improvise and to play off one another was so energizing to not just me as an audience and director but for themselves because they could make choices in a scene and add and just make a move and the other person immediately responded to it in a way that you don't always get. You know, it was really something to behold. I'm horrible. Not even close. And you don't know me very well. You're actually, you're magic. You're a lovely, formidable force is what you are. I just look at Margot and I just, I'm open to her and I go off her. And I just, I'm just there in space with her for these brief and incredibly full moments in front of camera. She's just a joy, she's just extraordinary. I take my breath away. Her talent is mind-boggling, really. And I've never worked with anyone who's just more generous, more decent. We've gotten so used to it just being the two of us in a car so often that actually when we're out and with a ton of other people it's like really fun and exciting. And then after a few days we're like, we want to be back in the Saturn. We just want to be back in our little bubble. So there's something inherently romantic about Colin as well. He's a bit, really a poet at heart. I just knew he could embody someone who's experienced all the textures of life, but is still really romantic and a poet. When I was a kid, six or seven, they made us do a picture in school of what we thought the future would look like. And I drew a picture of me with a bow tie and a top hat. Three kids. That's all I wanted. Was to be a dad and be married. I swear to God. It's just about people who are trying to figure out the path to maybe some contentment and maybe joy and maybe love. It's so magical and it's so disarming and romantic. And I just have been looking for a love story for so, so long. A big, big love story where the love story is the main story. I could do one more, don't I? Absolutely not. A big, bold, beautiful musical? **** no. No, but I'll give it a go, man. It's a crazy movie. One second you're at a wedding, the next second you're in a hospital, the next second you're on a cute date, the next second you're in a high school musical, a full-on high school musical with dance numbers and songs. It's just crazy. Hello. How you feeling? Good. How you doing? Good. Are you sore at all? So ******* sore. Want to just review it from the top? Yeah. Yeah? Yeah, sure. All right, from the tippy top. Rehearsing the opening number with Colin. He's dancing his butt off and he learned it so fast. It's remarkable. This is really not easy choreography and he learned it in about an hour and now we're just perfecting. Let's go from everybody entering. Basically, after you crawl through, you do this. You're just going to tuck it behind your back and one of the dancers is going to take it for you. So go how to, how to, succeed, two, three, four, five, six, seven, eight. One, two, three, four, five, six, seven. Facing front and just watching what's happening. A one, two, three, four. And shoot. Yes, perfect. Great. Love it. Beautiful. Oh, I love musicals. Yeah. Not every single one of them, but yeah. I loved when I was a teenager, I went through a period of being obsessed with Jesus Christ Superstar. But then my brother brought me to see Rent, the original London cast, and that went in deep. And I saw Rent maybe five or six times over the preceding three or four years. So maybe I'll go with Rent. I think we all sort of secretly want to make musicals, you know, because musicals can be so over the top in regard to the emotion. You know, like I will be sobbing in a musical and it might feel like the most artificial thing I've experienced, but that artifice is being used to connect you to real, true emotions. Wow. I've been waiting for this high school musical and to see Colin up there doing a song and dance amongst a bunch of 16-year-olds. I'm not even acting in this scene because Sarah is gleeful right now and I am gleeful. I am just like, this is the one I've been waiting for. Thank you for clicking on our video, everybody. If you like what you saw here, please make sure you like the video and subscribe and share with your friends who like this sort of content. Joe Blow remains an independent company and we appreciate all of your support.