How did that compare to working with Richard Linklater on Before Sunset?
JD: It’s the opposite. He doesn’t want to miss the shot—he’s very precise. We will do a scene until he gets it right. But no, it’s very different. And plus, it’s the opposite of controlling things. With us, it was always—he’d ask us what song we wanted to play. Like, I picked songs for the film. I’d go with him with to location scout: “Do you like it here?” “Oh, let’s pick that café.” He’s totally laid-back, he’s the opposite of a control freak. He’s only controlling in a sense that he wants to make the movie that he wants to make. AVC: Do you have a preference between those extremes, in terms of a method you’re comfortable working with? JD: I don’t have a preference. I enjoyed working with both as much. I don’t know why. I don’t mind being totally controlled as well. It feels very safe. With Richard, it felt safe too, because we knew each other really well, and even if he’s not controlling, he knows what he wants, and we discuss like two reasonable adults. With Kieslowski, it’s kind o
