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Source Code

Coverage by Nobuhiro Hosoki

Story : When decorated soldier Captain Colter Stevens (Jake Gyllenhaal) wakes up in the body of an unknown man, he discovers he’s part of a mission to find the bomber of a Chicago commuter train. In an assignment unlike any he’s ever known, he learns he’s part of a government experiment called the “Source Code,” a program that enables him to cross over into another man's identity in the last 8 minutes of his life.

Opened April 1, 2011

Runtime:1 hr. 33 min.

 

Q&A with Actor Jake Gyllenhaal, Actress Michelle Monaghan, Director Duncan Jones

 

(Q) : We're all familiar, Duncan, with your work on "Moon," which is a fantastic sci-fi movie. Jake and Michelle, when did you first see "Moon" and become aware of Duncan as a writer/director?
 
(Michelle Monaghan) : As it came out. Like most people, I think when I saw that movie I was just blown away by your direction and storytelling and certainly by Sam Rockwell's performance. So when I found out that Jake of course was attached to "Source Code" and Duncan was as well I was pretty much on board.
 
(Jake Gyllenhaal) : What's "Moon"? We were making alliteration jokes last night when we were a little tired post-screening, and we called this movie "Boon." Buncan Bones, the birector of "Boon," is what we were saying. Anyway, we're a little tired. I first saw "Moon" and I just thought it was extraordinary. I think there are certain movies for generations in particular where you feel like it speaks to you somehow psychologically, and also just as a director I saw that visually, rhythmically, everything about it was something new.

It felt like it wasn't derivative. Clearly it had influences but it was its own voice, and Sam Rockwell's performance was amazing in it. So I met with Duncan because I desperately wanted to maybe work with him, and I like slipped him this script and I was like "Hey, check this out and see if you like it." And four days later he was like "I really like it, I want to make it," which was a crazy surprise.
 
(Q) : And that was "Source Code." So what about Duncan's work that you thought would be a great fit for you and for the material that you had read? You had read Ben's script and loved it.
 
(Jake Gyllenhaal) : To be honest it was a shot in the dark. When somebody says "Who's your top choice to do something, who would you desperately want to work with?" and you go "Well I'd like to work with Duncan Jones," and they go "Okay, we'll send it to him." I never thought Duncan would. There's nothing about Duncan I thought was right about this project.

No, I'm just kidding. Obviously there are interesting correlations with both movies in terms of senses of isolation, but more than anything I just loved the fact that he had his own voice, and that's what this movie needed. That's what this script needed, someone who was going to take something that could seemingly go one way and make it their own, and I knew that he would do that.
 
(Q) : So now that you have the script, you've met with Jake, what do you bring to the existing project? You were a former philosophy major, so you have that kind of background as well, so you bring a lot of your own creativity to it. What did you bring to Ben's existing script to make it a little more yours?
 
(Duncan Jones) : When I read the script for the first time I read it just as what I would imagine an audience member would see it as. I loved the pace of the script, I thought there were so many opportunities as far as there's a mystery in there, there's a thriller, there's action, and then there's this really interesting science-fiction conceit at the heart of it. But the one thing I wasn't sure that I felt was tonally where it was going to play.

I felt if done a different way this film could take itself very seriously or you could lighten the tone, you could find ways to inject some humor into it and keep it really entertaining and keep it fun, and that's really what my approach was. When I talked to Jake about the script that was what I was saying that's the approach that I wanted to take. And fortunately he agreed and felt the same way.
 
(Q) : Was it because of having somebody like Jake who's talented as a comedic style actor as well as being the male action archetype or was that just based on the page itself?
 
(Jake Gyllenhaal) : Based on the page really. I love the science-fiction idea at the heart of it but I am a science-fiction fan myself, and I really see science-fiction kind of falls into two camps for me; hard sci-fi and soft sci-fi. If you imagine hard sci-fi as being where you can sort of see how the science-fiction future how you could get to it from the world that we live in today by evolution or just by technological innovations, And soft sci-fi is where it's a little bit more fantastical, a little bit more magical, and things don't necessarily have to be explained.

Time travel, parallel realities, things like that, they kind of reside in the grey area between those two things. Theoretically they all have rules which are understandable and make sense, but how we get from the world we're in today to that world is something that I don't necessarily see how we get there.
 
(Q) : There are so many heady ideas like that in this movie, so as you're kind of developing it how do you make sure that those ideas are still there and it's a smart action movie while still being accessible to modern audiences?
 
(Duncan Jones) : I think Ben did a really good job of writing a script that gave you just enough explanation and exposition so that you understand what the rules are. And I think that's the important thing is you can really cut them down to the bare bones, the rules, so you can understand what the science-fiction conceit is. But then you ask the audience to take a little bit of a leap of faith with the humor and with the lightness and action and all the rest you ask them to take that leap of faith and enjoy the ride. And I think that's what works about "Source Code."
 
(Q) : So now you've got Jake as your star, but just as important you need a female lead that isn't just the girl on the train. You need somebody that is basically the audience surrogate. So how did it come to be that you worked with Michelle to kind of develop that character into just more than the damsel in distress?
 
(Duncan Jones) : I had seen "Kiss Kiss Bang Bang," and I knew Shane Black a little bit and I talked to him about what it was like for him working with Michelle. He had an amazing time working with Michelle and said that she's just so much fun and improvisational and brave. And I think for me it's that last part of it which I think is the most exciting as a director.

To have someone who's got a very strong idea of what they want to do themselves but is also brave enough to take on my suggestions and find ways to incorporate them as well. Because as a director you want to know that your actors have a handle on what they're trying to do, but you also want to be able to give them suggestions and not have them just ignored but find a way to work them in there.
 
(Q) : And what about you as an actress? When you're playing this character what can you bring to it? A lot of those scenes can be repetitive and that could be frustrating for an actress, so what do you bring to that as you do each eight minutes?
 
(Michelle Monaghan) : I think that was kind of what intrigued me most about doing it was the idea that it was kind of daunting, I suppose. But I knew going into it it wasn't what Duncan wanted nor what Jake wanted was the same eight minutes over and over again. It was very clear from the start that we wanted to have each source code, each eight minutes tonally change.

So because of the nature of this same eight minutes we kind of plotted out each source code and we kind of figured out what the tone of each one was going to be in ways and how we were going to incorporate pieces of the puzzle. So for me it was just a matter of creating a back story I guess for this character, and that was sort of the stepping stone I guess into each eight minutes.
 
(Q) : So as you're filming did you have to separate the two stories? Your story is almost drastically different from what was going on with Jake and Vera and Jeffery's characters.
 
(Michelle Monaghan) : Yeah, I just separated the science from the emotion and just kept it really simple for me.
 
(Jake Gyllenhaal) : We were a little flummoxed by the whole situation of how the dialog went between the two characters.
 
(Michelle Monaghan): We shot it chronologically as well.
 
(Jake Gyllenhaal) : We did.
 
(Michelle Monaghan) : When we're trying to figure out each source code it was very, very helpful.
 
(Michelle Monaghan): We did this thing where we sort of wrote alternate dialog for Michelle's coverage, so when the camera's on Michelle I would have different responses for her so that it wasn't so disorienting for her. So she would say stuff like "I took your advice, it was very good advice," which is the first line of the movie, and I said "Oh, well, thanks."

And then when it came to shoot my side we had an alternate version where I would say "My name's Colter Stevens," and she would be like "Okay, it's okay, calm down." And so in a way when it was put together it's just as jarring. Because we couldn't really respond to each other without going "What? Excuse me? Are you crazy," so everything was sort of set up like that.
 
(Q) : At what point during your pre-production phase did you decide to shoot chronologically? Because that is obviously not the way normal movies are shot, and that can be an extra strain on the production. Why did you decide that was important and when along your route did you decide to do that?
 
(Duncan Jones) : It's something you literally have to calculate; how much time things are going to take when you're shooting. We had this beautiful set that we built up in Montreal of the inside of the train that was up on a gimbal, which is basically a device that allows you to rock the set so you get the sense of motion of the train.

Taking apart the walls of that train so you could shoot the various angles that you wanted was going to take a certain amount of time, and we basically had to calculate if we do decide to shoot chronologically are we going to have the time to do that properly and still move the camera around the way we want to as the movie progresses?

And it just became pretty much a math problem at that point and it was just working out if there was going to be time to do it. My priority was obviously to give Jake and Michelle an environment where they could perform and feel comfortable developing their characters. And at the same time I had to find a way to balance that with the technical needs of how we had to shoot the film.
 
(Q) : And you mentioned letting these guys have some kind of free reign over some of their dialog. How important was that to you guys to be able to improv as you go and to have Duncan tell you when it's too much or bring it back or let it go, explore that a little further?
 
(Michelle Monaghan) : It's incredible; it's a great freedom to have. Duncan's extraordinarily collaborative in that way. We had to some extent repeat the same eight minutes, but also we really played around with the dialog, and I think we had more freedom as the source codes went along.
 
(Jake Gyllenhaal) : I think we discovered too that particularly with your character, there were lines written and things that felt like they would force Michelle particularly into one idea. Instead of just being the girl on the train, to have it be real, we had to open it up, we had to make it however she would respond. That was the biggest thing. Because my character as to hit points in terms of telling things and where we're going in the plot. And she's so amazing at improvisation that she would really lead the scene in that way, and then I think things came out of it, like more things came out and were real in the love story as a result.
 
(Duncan Jones) : I think the structural stuff, we sort of did our homework during that week of rehearsal that we had before we started shooting so that by the time we did start shooting we kind of knew what the A to B was of each scene, where we had to get to.
 
(Q) : You shot this on both film, regular 35 mm, and then also on the Red Camera, digital, as well. Why did you decide to go both cameras and when did you use one and when did you use the other?
 
(Duncan Jones) : For those people who haven't had a chance to see the film I don't want to give too much away, but there are different environments in which Colter, Jakes' character, finds himself. It was really important that they had very different, distinguishable visual cues so the audience had a real sense of those differences.

So we used the film camera on the inside of the train, an environment we called a lab, and all of our beautiful photography of Chicago and the train station. And then we have this very special environment, sort of a holding area for Colter between missions, and we called that the pod, and that we shot on the Red Camera. And it was really about creating a significantly different feel to that particular environment, the pod.
 
(Q) : Does that give you any more freedom as an actor? Because with the digital you don't have to reset, you can just roll until the hard drive is full.
 
(Jake Gyllenhaal) : Without a doubt. We just came from watching the movie again and talking about it, and I didn't realize when I was watching it, within the pod world the images that are on the screen, I don't see any of them, I just imagined all of them. It was all green screen when I was shooting it. In a lot of ways you can think of that as confining and in many ways the atmosphere of the pod itself was very confining.

Duncan created a world in which I felt pretty isolated, but I actually felt very free because of the digital camera. We could keep rolling for 20 minutes. We could go back to the beginning. He could say "Go back to this part, let's go without cutting anything," so we never lost momentum. So it felt very theatrical, and at least Duncan got a sense that my strength is not in stops and starts, it really is in playing the whole scene out. And I think most actors work that way. It's nice to feel the whole scene all the way through.
 
(Duncan Jones): Kevin Spacey will only work one syllable at a time and then we join them together at the end.
 
(Jake Gyllenhaal) : Most average actors like to play it.
 
(Q) : So you were actually feeling a little bit isolated when filming in that pod. Did that help you with the character that is quite isolated in both of his environments, actually. So did working in that environment help you with the character? And Duncan was that intentional? Do you feed on that emotion in your actors and put them in a real mind space of what their character's going through?
 
(Duncan Jones) : We had this amazing production designer, Barry Chusid, who built the environment of the pod. He's a very talented guy. We started off with some early references of what we wanted and we wanted this environment that was literally going to physically change over the course of the film. And he just built these amazing things that looked like sculptures. They were just amazing environments to be in, let alone film in, although they were a little bit frustrating to film in. But really, I think it was just creating something that visually would work for me and at the same time help Jake out.
 
(Jake Gyllenhaal) : Duncan had this idea when he first read the script. It's so hard to talk about the movie if you haven't seen the movie, so the more you say the amazing ideas that are in the movie. There are five in particular that I have down that makes the movie as special as it is, and the five ideas all came from Duncan coming on and bringing an interpretation. One of them is his interpretation of what the pod does, and I don't want to give too much away about what that is, but the pod has different personalities, and as we go farther and farther into the story the pod changes character.

So because of those ideas my character was constantly having to adapt to what Duncan gave me, and I never really saw what that world looked like until we got on set. We also shot in a, it wasn't even a sound stage, what was it? It was this abandoned warehouse with feral cats running around and stuff in this really seedy part of Montreal. Everyone was like "Oh you're shooting there? They shoot movies there?" So there was that whole thing going on in that world.
 
(Q) : So Michelle, your character is in some kind of relationship with the character that Jake is playing to a certain degree. Am I giving too much away? I’m so nervous that I'm talking out of turn here. Let's try that again. You and Jake are in a relationship and you're sort of new to each other at the same time.
 
(Michelle Monaghan) : Yeah, we're new to each other. I guess I can say what my back story is. The relationship is kind of at the heart of this movie and it's really kind of about living life to your fullest. I'm kind of a gal that takes the commuter train to a job she doesn't like every day, and she sits across from the same people and then takes the train home to a relationship that doesn't really fulfill her that much. Sometimes you strike up a conversation with somebody that's a total stranger.
 
(Jake Gyllenhaal) : In somebody else's body.
 
(Michelle Monaghan) : In somebody else's body. That's hot. Sometimes a stranger can inspire you in ways and shed light on your life, and this is sort of the beginning of their relationship. She's probably sitting in the mirror at home going "Oh my god, I took his advice. I'm going to get on that train, I'm going to tell him this morning I took his advice," and that's sort of the beginnings of this relationship.
 
(Q) : So she had met and in previous days had been talking to Sean, and the next day it's Colter so it's different. So as the movie progresses Jake's character has eight minutes. But he's continuing on so he's falling in love with you as he goes along but you already have an established base with another person. Do you play at the end that you start to almost see through the Sean and almost see to the Colter?
 
(Duncan Jones) : There were a number of drafts to the script, and I know that there was a time in the script where the two characters, Colter and Christina didn't know each other, and so the relationship was starting from scratch pretty much every eight minutes for Christina, for Michelle's character.

I think Ben found a way to at least have them already have an established relationship, and I think that really helps the film because you can immediately believe that a relationship which already exists can be taken to another level over a fairly short period of time, and I think that was really important to get that balance right.
 
(Jake Gyllenhaal) : What's amazing actually about what Michelle does and what I think is an interesting idea in it is that so often love brings out the best in people, the strength in people, the confidence to do something you wouldn't normally do. And I always like to think of the fact that when people find relationships that they hopefully end up spending the rest of their lives in there's that part of that person that makes them feel anew, like they're reborn.

And I think it's a great irony but it's an interesting thing that we always joke what happens to Sean Fentress? But that happens, it's a feeling, and at least as actors that was the interesting feeling to explore was this guy she sees and she's always seen this way. There's a line in a clip where she says "Who are you and what did you do with Sean Fentress?" and I go "It's the new me."
 
(Q) : Duncan had set up between the two where it's kind of light, it's loving, but there's also action and drama and tension kind of all wrapped up. There's just so much going on in the movie that it's amazing you were able to keep this all together.
 
(Duncan Jones) : The balance was in the script and the balance was the fact that it had those really heartfelt moments and yet it also had the thriller and the mystery and the action. And I think that's what at least got me really excited about it.
 
(Jake Gyllenhaal) : It feels like one of those movies that you hear people try and market or try and talk about and they say "it's got a little bit of everything!" And we say that because it's true here, and everyone's like okay, we've heard that before, but it really does. It doesn't work without the other piece, this movie.

The thriller doesn't work without the romance, obviously, and vice versa, and the psychological components don't work without the sci-fi, and it's a rare thing and it's true. What's amazing about what he's done is that you understand what's happening the entire time, which is very rare for a film like this. Usually they get caught up in a million different ideas, and Duncan tells such a clear, honest story in the middle of all it.
 
(Q) : The new thing in Hollywood is this alternate reality, we've seen "Sucker Punch" and "Inception," maybe it's because the economy is so bad, but I want to know what makes this movie so different from the other ones? Why go see it?
 
(Duncan Jones) : Because you care about the people in it. I think that's the immediate answer I can give you is that as much as I admire and enjoyed those other films, I really think that for most of those other films the focus is on the sci-fi twist or the sci-fi idea or conceit, and our film has that but it's really about the people and you're actually going to empathize and care about Colter and you're going to care about Christina, and it's a world filled with people that you actually give a shit about.
 
(Q) : And if I may, it's a smart movie. I've seen a lot of the movies you're talking about but this is a really smart action packed kind of movie that we frankly need a little bit more of. So that's a great reason to see it right there, to support kinds of movies like these instead of the kinds of movies where you come out and you're like why did I spend $12 to see that?
 
(Q) : My new question is considering how critically acclaimed "Moon" was and how good Sam Rockwell was and how good the score was do you think it was disappointing that it didn't receive more awards and such?

(Duncan Jones) : I was incredibly fortunate to get to make a film in the first place. It's incredibly hard work to get to make a movie, and the fact that I got to make a movie and people like Jake and Michelle and I know Vera Farmiga and Jeffrey Wright saw that movie and that was a reason for them to want to work with me, I won. That's good; I'm happy. The awards are lovely and I know that everyone who worked on the film is incredibly proud of the success of the film, but really for me it's much more important that people I want to work with get to see it and want to work with me afterwards.
 
(Q) : I want to be an actor so what advice can you give me?

(Michelle Monaghan) : I think probably the most important thing, and I tell myself this still to this day, is to persevere. If it's really what you want to do go for it and study or whatever you can do just follow that path if that's what you want to do and just keep going and really believe in yourself.
 
(Jake Gyllenhaal) : Doing it right when it feels right is just about listening to other people and being present with other people. That's what they always say about acting. So if you can do that in the scenes that you're doing or you can do that with the people you work with and then it comes out into your life then that's the best advice that I can give. And it's really hard to do, so good luck. Constantly you're trying to get present all the time and you don't do it nine tenths of the time.
 
(Duncan Jones) : I don't want to give you really stupid but very practical advice, but go find places to act. I mean literally, go to your local film schools, places like that, places where they want actors.
 
(Q) : Duncan, when you're directing this is there a particular symbol behind eight minutes? Eight is infinity. And also what if it's not eight minutes, what if it's 10 minutes? What's going to happen?
 
(Duncan Jones) : I would love to able to take credit for the eight minutes, especially with the infinity sign, which you mentioned. It's a lovely connection there. Unfortunately, I can't take credit for that. Ben Ripley, who wrote the script, worked on a couple of different time periods, I think it was 17 minutes at one point, and what they found was that while they were working on the script it's too much time.

You lose the sense of pace and tension if it takes that much time, and if you get any shorter than eight minutes you can't really do anything, there's not enough time to actually do anything which is going to change the nature of what's going on. So eight minutes was kind of a balance that they found. I love the fact that it looks like the infinity sign, absolutely.
 
(Jake Gyllenhaal) : And eight repeats a lot more than just for the eight minutes. Eight repeats a lot of times in this movie.
 
(Q) : Jake and Michelle, how much time did you have to mentally prepare for your roles?
 
(Michelle Monaghan) : After we read together we got going on it pretty quickly, I think within three weeks maybe we were in Montreal and we were rehearsing. But that was pretty intensive, and for something that kind of maybe appeared on the page as very little preparation actually required significant preparation and constant focus throughout the whole entire movie. We had to be very careful; we didn't want to pull things necessarily from other source codes because we really wanted to have an arc, an emotional arc, and so we wanted to have a differentiating experience in each source code. So from the very start I think you and I especially were pretty clear about where I specifically needed to go as a character. Jake had a different relation to that.
 
(Jake Gyllenhaal) : I talked with a lot of helicopter pilots because my character's a helicopter pilot, and I thought it was really important on a psychological level to understand when you would encounter a situation where you didn't understand what was happening what you would do. So I did a lot of research in terms of that. And also I had been with the script for a little while, so just in terms of being a character in the movie that moves along with the audience in a thematic way, which is different than just playing a character.

Whenever you think about the script you're always working on the character too. I would say actually to be really honest to that question, I would say the research I've done for other film roles actually really helped me with this one, maybe three or four different ones. Particularly my research into the military when I did this movie "Jarhead." That philosophy, that mindset was a huge influence on this role.
 
(Q) : I heard that Duncan's going to direct a new Pac-Man movie; is that true?
 
(Jake Gyllenhaal) : After "The Social Network" I think he is, right? After the success with "The Social Network."
 
(Duncan Jones) : I think seeing how exceptionally well received "Social Network" was I think it does open up a whole new area of filmmaking, and I think Pac-Man would make an excellent movie.
 
(Jake Gyllenhaal) : So are you here to announce officially that you're going to direct the Pac-Man movie?
 
(Duncan Jones) : Sorry, Jake Gyllenhaal.
 
(Jake Gyllenhaal) : I'm really excited about it and I'm going to drawing on a lot of roles I've played in other movies to play Pac-Man. So research starts now and that you guys so much. We're all so excited, and April Fool's.
 
(Q) : Jake, you've had the opportunity to work with so many talented actresses over your career like Michelle of course and Natalie Portman. Who have you had the best experience working with?
 
(Michelle Monaghan) : Watch yourself, Tiger.
 
(Jake Gyllenhaal) : By best experience, what do you mean by that? Definitely not Michelle. Each one of them brings their own special… The thing is everybody obviously is always different and we have different interactions in all of it, and the thing with Michelle is that I've never met anybody who improvises as extraordinarily well as she does. I take her lead in that world and that is something that none of the other actresses I've worked with can do as well as she does.

Think about that; that's literally like flying and you turn the engine off. And also the one thing I can say, and this is not any way to separate her from the other people I've worked with, but what was so important about this character that she plays in this movie is that the second you see her in this movie you have to believe that she is good, that she has a wonderful heart, that she is somebody you would risk your life for, that she is someone you would devote your life to. And to have that in the presence of a moment without saying a word is impossible really, and we did find it in her. She's got it.
 
(Q) : My question goes to Duncan. Do you have any advice for young people like me who want to get a career in the filmmaking business?
 
(Duncan Jones) : My advice would be get together a group of likeminded friends. That was a huge help for me when I was starting out with "Moon." Find people that are great musicians, great artists, people who want to be editors – you'll even find a couple of crazy people out there who want to be producers – and bring them together and that will give you momentum to actually get projects made. Because it is so hard to do it on your own and you don't need to do it on your own. There are people out there who are just as creative as you but who have different interests in that arena, in filmmaking. And you have so much more momentum if you have a group of you trying to do it together.
 
(Jake Gyllenhaal) : I would say the best directors I've worked with always have the people who they started with around them even when they've made 10 movies. When I worked with Jim Sheridan he has his friend from years ago, he will not make a movie without him, and it's exactly what Duncan's saying. So that's really good advice from what I can see.
 
(Q) : I was just wondering if you were going to continue making films with the theme of isolation like "Moon" and this one too.
 
(Duncan Jones) : In all honestly no, I don't think so.
 
(Jake Gyllenhaal) : Pac-Man's all about isolation. He's eating his way out of isolation.
 
(Duncan Jones) : My next film is going to be a sci-fi film that involves a group of people. It's very much an ensemble kind of a gang on a mission. I'm not always going to do those kinds of movies. I've done two of them now and I think I know what it was that I wanted to capture and I think I got it, so I think it's time to move on a little bit.
 
(Q) : Did you ever have any hesitation about taking on a movie that has some of the same thematic elements as "Moon"?
 
(Duncan Jones) : I didn't even know; I didn't even realize. I mean I know it's obvious in retrospect, but when I was reading the script I was so excited about the things which I thought were different about "Source Code" and "Moon." The fact that I was going to be working with more than one actor after "Moon" was very exciting. The fact that we were going to be doing all of these action scenes and the pace of it, I loved how fast it was, and "Moon" is much more fallen and slower paced. So no, it was the differences. But I think Jake was the one who probably recognized some of the similarities which maybe made him think that I would be the right person to direct "Source Code."
 
(Jake Gyllenhaal) : I think it's amazing because the response we're getting from the movie has to do with the essence, the feeling inside of it, which is what "Moon" had too, which is like a weight. It's very hard to put into words, but that's what I felt from "Moon," and it wasn't like there were thematic similarities, like a theme of isolation and oh this guy does isolation really well. It was like this guy makes movies really well – a movie really well.

But I mean, come on; this guy's made two movies and they're really good, so the guy knows what he's doing. Some people can't even make half a movie really well. I always just say there's this low hum in a Duncan Jones movie. It's like this low hum that kind of like gets you and sort of eats away at you, and also weirdly comforts you at the same time. And the only other directors that I have feelings like that with are some amazing directors I've worked with. He hates it when I say "Duncan Jones is exactly like Ang Lee."
 
(Duncan Jones) : It's just the way I walk.
 
(Jake Gyllenhaal) : You just feel a sense of a voice. It wasn't about isolation or similar themes; it was just about somebody who really knew how to make a movie.
 
(Q) : I think that's a great way to wrap up our conversation.

End.