DGA Monthly

M A Y 2 0 2 6 I 2 5 In their sequel to their 2019 feature, Ready or Not, Directors Matt Bettinelli-Olpin & Tyler Gillett's horror comedy, Ready or Not 2: Here I Come, finds Grace MacCaullay discovering she's reached the next level of the nightmarish game, and this time with her estranged sister, Faith, by her side. To survive, Grace must keep Faith alive and claim the High Seat of the Council that controls the world. They discussed the making of the film with Director Jorma Taccone and revealed how they managed the gore and special effects makeup while maintaining continuity. "We really like the idea of establishing the final look of the characters early on, because in the early process, we always seem to go harder and it's great because you get to reverse engineer that look, which always gives us new ideas to push the action sequences, violence, sweat, the level of dirt all harder in the earlier parts of the film," said Bettinelli-Olpin. "It's what we did in the first movie," said Gillett. "The last ten minutes of the first movie were the first thing we filmed." "It's what we do for every movie," added Bettinelli-Olpin. Matt Bettinelli-Olpin & Tyler Gillett discuss Ready or Not 2: Here I Come photo by Shane Karns Photo L-R: Jorma Taccone (moderator), Matt Bettinelli-Olpin and Tyler Gillett (right) discuss Ready or Not 2: Here I Come following the Los Angeles DGA screening on March 28. Membership Screenings Q&As listed in alphabetical order by Director. See more detailed descriptions, additional photos & podcasts online at www.dga.org. DGA Screenings Q&As Director Maggie Gyllenhaal's neo-gothic romance, The Bride!, unwraps the tale of what happens after Dr. Frankenstein's monster asks a groundbreaking scientist to help create a companion and they bring back to life a murdered young woman. Gyllenhaal discussed the making of the film with Director Greta Gerwig and spoke about the role dance plays in the film and how she worked on that element. "I wanted Frank's primary relationship to be with someone in the movies. He's so alienated he thinks he has a relationship with someone who has no idea who he is. I was thinking about those movies of the '30s, how delightful they are yet, how totally based in fantasy they are. This movie was also meant to be an exploding of that fantasy, so, the idea of bouncing my monster love affair off a Fred Astaire-Ginger Rogers kind of love affair... then dance came in. You're wondering, is it the fantasy kind of dance where Frank is imagining himself inside of these movies, thinking, 'is our love affair going to be like that?' or that very real kind of monster dancing where he's met with despair, hurt and pain when Ronnie Reed rejects him and he can either smash his head or, he can dance. I remember auditioning these incredible dancers and saying, 'Move across the room and surprise yourself at what happens when you let a little of your monster out." Maggie Gyllenhaal discusses The Bride! Photo: Maggie Gyllenhaal and Greta Gerwig (moderator) discuss the making of The Bride! following the DGA screening in New York on March 14. photo by Ryan Jensen After her need for a dress for her new tour draws them back together, long-buried wounds between a singer and her costume designer rise to the surface in Director David Lowery's musical drama, Mother Mary. In Lowery's film, iconic pop star Mother Mary reunites with her estranged best friend and former costume designer, Sam Anselm, on the eve of her comeback performance. During a conversation moderated by Director Antonio Campos, Lowery discussed the challenges trying to go as deep as possible with his actors. "You're always like, 'What am I going to lose because of this?' You have to mentally prepare yourself, 'If we are going to dig deeper there's going to be a cost and I don't know how big that cost will be. Maybe it's a shot tomorrow, maybe it's a scene next week.' But you have to be prepared for that. I'm always of the opinion that whatever you're shooting in that moment is the most important thing and if you do have to pay the consequences you can figure that out after you've wrapped. But when you're in the moment and you're with the actors and there's a need to keep pushing further and digging deeper, it feels to me morally wrong to stop short of that." David Lowery discusses Mother Mary photo by Marcie Revens Photo: David Lowery and Antonio Campos (moderator) discuss the making of Mother Mary following the DGA screening in New York on April 12.

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