This script of the Interview shown on the Japanese DVD was written by our friend Kristina.

We want to thank her therefore in the name of all loyal Lost and Delirious fans.

Any further details, i.e. names of the people we see and did not recognise will be very welcome via e-mail.

FIRST IT IS SHOWN A PART WHERE A GUY AND THE DIRECTOR ARE EXPERIMENTING HOW TO BREAK THE MIRROR IN THE SCENE WHEN PAULIE BREAKS IT, AND THE GUY BREAKS IT ON HIS HEAD.

THEN THE CHARACTERS, THE DIRECTOR AND PEOPLE OF THE TEAM WORK TALK ABOUT THE FILM:

Greg Dummett:
The creative process of initiating a project…. to me that's almost.. it may sound corny, but it's a reality. It's like bringing a child to this world.

Léa Pool:
I had the first proposal four years ago but I couldn't do the film… It's very strange. And I said no at this time and it came back to me four years later, so I think I had to do this film.

Judith Thompson:
When someone loves passionately and that love is fore hid the unconscious fury can rise to the surface and completely take over the individual, and I think we all battle daily with control.

Greg Dummett:
The luxury of working with one of Canada's most renowned playwrights, Judith Thompson, has been an education beyond my belief, she worked for almost six years on the scripts so I'm very proud about how the script has involved.

Léa Pool:
I found the script very, very strong and I liked the story, the power of the characters in the film.

Piper Perabo:
Hi, I'm Piper Perabo and I'm playing Paulie Oster. The story is about two friends who are in the last year in a boarding school and a new girl moves into their room.

Mischa Barton:
I'm Mischa Barton and I'm playing Mouse. She came to the school and during her time in the school she kind of grew up and became more independent and stronger.

Léa Pool:
She's more passive, but in a passivity she has to be very present. It's also her that tells the story; it goes through her voice-over that we understand what's going on. It's her face that was amazing for me. She had such a face.

Jessica Paré:
It's really intense and it's directed by Lea Pool so…you know.
It's a story about loving somebody from who they are, and about getting to know yourself

Greg Dummett:
I think this is what the film is trying to depict, is to maintain your own identity in a fairly claustrophobic setting, like a private school

THEN THEY SHOW IMAGES OF PERKINS COLLEGE.

Léa Pool:
Before being a filmmaker I was a teacher, so I was in involved with adolescents of 14-15 years old, so what the school is at about this age I know I think a lot.

IT'S SHOWN THE SHOOTING OF THE SCENE WHEN THEY PLAY FOOTBALL AND MOUSE APPEARS ASKING FOR HELP. THERE ARE TEAM WORKERS ON THE ROOF TOO.

They are speaking French here.

Camera man: And…action!

They start filming the scene where the girls are playing soccer.

Man from film crew: Go ahead please. One more take!

They start filming more.

Jessica Paré:

Lea is really great she really trusts in actor's instincts… which is really helpful especially, I think, for young actors. Oh my God (starts laughing). So, I'm Jess Pare and I play Tory Muller.

Léa Pool:
Jessica, her part, Tory's part, it's a difficult one because she's in between two positions; She is in love with Paulie but at the same time she also has a lot of difficulty to accept this.

Jessica Paré:
Tory is the kind of girl who…uhm…she wants everyone to like her, you know, she wants to…uhm…she would never make a decision if she could avoid it….do you know what I mean, and she likes to make people laugh, I think, you know, that's why I can identify with her.

AT THAT MOMENT WE CAN SEE THE SCENE WHERE TORY SCREAMS WHEN SHE SEES PAULIE JUMPING.

Léa Pool:
I like to work with adolescents… they are no more adolescent, but still they are pretty young, and I think it's very interesting because they are very natural andcan really be much closer with emotion with young actors, I think

Mischa Barton:
Léa has been a pleasure to work with, she has a really interesting and artistic way of filming scenes and angles and camera angles. And she always knows what she wants ahead of time.

Piper Perabo:
You feel free enough to try things and so when an impulse occurs right in the middle of a scene, even if it's really crazy, and often with Paulie it is…you really feel like it's ok to not know what's going to happen in the middle of a scene, and if it occurs to you while you're shooting it... then like, go for it, and Lea's going to be right behind you on it.

Léa Pool:
Of course it's different than my previous film because I worked from a script that is not my script so I have to always have in consideration what it is in the script, what the author wanted.

Judith Thompson:
She has been very, very respectful with the text, which I find such an honour, because I think she's such a brilliant director. And in many films they disregard the text and actors make up lines… you know, something that's been worked so long on, it's like an intricate quilt… and she knows that if you remove a piece, you know, it can collapse.

AFTER THAT THE TEAM WORKERS TALK ABOUT THE FILM.

Pierre Gill:
I just met Lea a month before the shoot started, we have a really nice relationship, we got along well together right away... She is a very wonderful director; she's taking care of the actors, she respects all the department.

Léa Pool:
I worked a lot with Pierre and with the actresses to figure out how to make the scene and it's more like a work in progess than in my previous film. This was our first contact and we can learn something from each other so it was a respect.

Pierre Gill:
Léa…she has a vision, it's very interesting, but I can still bring my input, and bring more movement to what she wants to do. Compared to other films she shot before, we're moving more the camera... I think can help her a lot with this, because I'm more used to doing films with more movement

THEN THEY SHOW IMAGES OF THE SET WALKING FROM THE PERKINS OUTSIDE TO THE CAFETERIA.

Piper Perabo:
It's a complicated scene actually, because you get it all in one shot, and there's also remote camera speed changes in it, so it's very specific and um, once I worked it out with glad and reversal with the other actors and it was a scene where we did a lot, I rehearsed and worked a lot with the camera crew and the DP, because it's very specific movements you can make when the speed is being changed… and so it was a really interesting day because the technical aspects are a lot, are really intellectual on the acting in that scene, so it's a good example of having to be a film actor, because you have to work with the camera, you know, you can't just play the scene any old way and not get it, and they get it, it's a lot of work.

Pierre Gill:
Okay, so here I'm doing a set up for a shoot which will be about 300 degrees, so it's starting from one end, turning around. it's a whole master shot, it's a one shot deal… and we're doing, we're changing the speed during the shot, so we're going from normal speed, to four frames per seconds, to slow motion….it's quite tricky., it's a bit crazy, but it's always fun to do.

We're going to put a bit of smoke before we shoot. The smoke will just blend, just a bit, it doesn't show, people don't see it when they look at the film, but it will just blend the light, it will be less harsh, and just nicer for the eyes.

BEFORE SHOOTING THE SCENE WHEN PAULIE THROWS THE SHELVES WITH THE SERVERS, THERE IS A CONVERSATION BETWEEN LÉA, PIPER AND PIERRE GILL, EXPLAINING TO PIPER HOW TO SHOOT THE SCENE BECAUSE IT HAS A SPECIAL CAMERA MOVEMENT.

Léa (to Piper):Yeah okay so, You freeze…this is perfect. You stand up, you freeze… You see, it's interesting… a moment of… we don't know what's going on. There will be a moment, anyway.

Piper: Yes

Léa: and when I say "go", you continue your acting.

Piper: And then I say "I know it; I'm funny, ha ha ha ha ha".

Léa: Yes. Or you could go directly to the haha's.

Léa Pool:
ACTION!

Piper Perabo:
I like throwing things, so… (She laughs). It was a good team for me.

Léa Pool:
Piper Perabo was my first choice from the very beginning. I met her in New York in the very beginning of the casting and I knew that she was Paulie.

It's a very special part and I think not a lot of actresses can do this because she has such a range of emotions.

Piper Perabo:
I mean, for me I think it's natural to…I think it's natural to all people really, but to want to be someone else…And really, look at the integrity of what, like really honestly take a look at what it is to be someone else, and have to live that life and walk in those shoes.

Judith Thompson:
I met someone once who had a falcon at a party and someone said: "What's it like to have a falcon as a pet?" and she said: "it's not a pet, it's a killer" and so I thought about that when I came to write this and the idea of the falcon is something wild and beautiful that you want to tame, and Paulie is like that.. Who can actually turn around and kill... has that kind of ferociousness.

James Calhan:
I'm James Calhan with a company called the Canadian Raptor Conservancy, and we're doing the bird wrangling on this production. This guy's name is Woody, and what we're doing, I guess on this production, is the bird will be flying back and forth, to and fro, to the main actress, Piper. They're very interesting birds for doing work with, because they're simply very social birds, so they like actually being around people, they actually accept us somewhat into their path.

Pierre Gill:
We control the bird by a few commands, so one is voice command, and how we do that is simply when the bird was young we would simply talk to the bird while it was eating, so it got to recognize food and voice went together. And of course also, the main commands would be with food, little small pieces of raw meat that we use to call the bird to us, or our way, depending on.

Guy:
The shot which we did on the fake roof, it's a roof that's about 12 feet high, it was really nice… the one shot of her falling with the bird flying off her arm… the sky is like Eisenstein, a Russian 1920 movie.

Piper Perabo:
To get up the guts to do it again the first time, is always a bit like you just have to shake it off and jump. And then after that I didn't want to do the scene without jumping. Even if they didn't need the jump for the shot, I wanted to do it because it's just really real, and I love the scene.

Serge Bureau:
I'm Serge Bureau; I'm the designer for this film, Lost and Delirious. What you see right now is a set that we built from scratch from the studio to make all the connections from the outside of the real location in Lennoxville to here. Of course it's not like a regular school where you have your bed… they kind of took the whole place and transformed it…and it's a one kind of rebellion, there's graffiti, she has a collection of Shakespeare books so… this is Shakespeare over there.

There's no law or anything like that to run away with the colours and for the character… it's more like a feeling about, and how we want to do it.

Mischa Barton:
We all get along really well and I think that's going to show on screen because we already have the chemistry.

Jessica Paré:
They're not, you know, snobby or disdainful or anything and we just have a lot of fun.

Piper Perabo:
Jessica, who plays Victoria, (she laughs), she's a bit crazy. I think we both had to bring out the crazy sense of humour in each other, so we're always kind of laughing and spazzing out together, which is nice when you're like, stuck in a bed together for two days doing scenes.

WHILE PIPER TALKS IT'S SHOWN THE PREPARATION AND THE SHOOTING OF THE FENCING SCENE.

Piper Perabo:
It's difficult that scene and especially when you see Yvan and his steadicam operator because when he's doing a POB of Jake, I have to almost fight him and the camera is right in my face. It's difficult to stay in the moment of the story and also not cut Yvan's head off, while he's filming it (she laughs).

THEN IT CAN BE SEEN THE SCENE OF PAULIE FIGHTING AGAINST JAKE AND AFTER THAT IT'S SHOWN THE SHOOTING OF THAT SCENE AND HOW TWO GUYS DID THE FLASH EFFECTS WITH MIRRORS.

Pierre Gill:
Léa wanted to have an effect with the mistiming; maybe some little flashes in between some scenes, so we did some shots that we shot at 10 frames per second, and we flashed some lights or some sun on the actors. We really overexposed. And it gives a very strange effect. And on scenes like this I don't go by the book, because I know what we're shooting so I can decide at what point to panget somebody doing this action, come back, even if it was not clear.. But it gives more editing points for the art.

Very important in those kinds of scenes, you know you do one take; you have to remember what you shot in the other take. You say okay this one; I'll do more on the sword or closer on the face because I did that already.

THE FIGHTING SCENE IS SHOWN AGAIN.

Jessica Paré:
In adolescence you experience a lot of emotions very intensely, you know, because it's the first time.

THEN WE CAN SEE A SCENE OF PAULIE AND TORY IN THEIR ROOM.

Greg Dummett:
When you're in a pool of hormones that exist in a high school, there's a lot of pressure from your peers to be involved with someone.

Jessica Paré:
Yeah, there's alot of peer pressure involved for Tory, and that's one of the reasons why she thinks that her relationship with Paulie is unacceptable.

Greg Dummett:
This film also explores sexual identity and sexual politics.

Léa Pool:
First of all, I was asking me, " Is it better to do a period film? Like in the 70's…or is it right that 'til now… in the beginning of the 21st century?" There would still be a lot of pressure about homosexuality.

AT THAT MOMENT APPEARS A SCENE OF A KISS BETWEEN PAULIE AND TORY.

Léa Pool:
We live in an artistic community. In our community it's something that seems to be ok, but I think it's not at all, so I think it's very important to speak about it.

THEN IT'S SHOWN THE SHOOTING OF THE SCENE WHERE PAULIE SAYS:

"I'm Paulie in love with Tory…".

Greg Dummett:
There's a universal language when you're working with actors, it doesn't matter if you are French or English.

AFTER THAT WE CAN SEE THE SCENE OF THE LAST KISS BETWEEN PAULIE AND TORY.

Greg Dummett:
Because she's so visual, the actors can easily understand the motivation of the scene.

ONE LAST SCENE

PIPER'S LAST SCENE IS WHEN PAULIE CUTS MOUSE'S HAND AND BEFORE SHOOTING THAT SCENE A GUY TEACH THEM HOW TO DO IT. OF COURSE IT'S NOT TRUE; THEY PUT ON THEIR HAND A SPECIAL LIQUID THAT MAKES THE BLOOD EFFECT IN CONTACT WITH THE PIECE OF GLASS.

Lea Pool:
What we decided is it will be less visible if it's more inside.

Piper Perabo:
Ok.

Mischa Barton:
Like right where you left your hand like that.

Guy:
This one…You have to know where to drop this.

Piper Perabo:
Where is it?

Guy:
Right there.

Piper Perabo:
Ok.

Guy:
And go with this one…

Piper Perabo:
Oh, sweet

Mischa Barton:
That's so cool!

Lea Pool:
(says something in French, and motions with her hand) (girls laugh)

Guy:
No. No.

Piper Perabo:
You can't taste it?

Guy:
No. No, don't taste it.

Lea Pool:
Ok let's go, and action. (Piper uses the thing to cut Mischa's hand) Ok, this works…now you. (Paulie uses the thing to cut her own hand) Let's see. Yep. Ooh.

Piper Perabo:
It's too much.

Lea Pool:
It's too much.

THEN THEY SHOOT THE SCENE AND REPEAT IT BECAUSE PIPER FORGETS A DETAIL

Lea Pool:
You are doing like this, last time.

Piper Perabo:
Uh yeah, I have to drop the shard and do that thing. I got so excited that it worked on Mischa I lost all focus

AFTER THAT WE CAN SEE THE LAST SCENE OF EACH OF THE MAIN CHARACTERS AND THE TEAM WORKERS CLAPPING. SOME WORKERS TIDY UP THE SET AND PUT IN THINGS IN SOME VANS AND THE MAKING OF ENDS.