The director of the “Old Guard 2”, Victoria Mahouni, had affected emotion and wondering

After a A series of production delaysand Old goalkeeper 2Netflix and Skydance continued for the 2020 immortal action movie starring Charlize Theron, now flowing. In a typical complementary style, the follow -up to adapting comic images aims to raise the emotional risks to greater altitudes with Andy, as it comes to control her newly discovered deaths, but also puts her against her long missing companion (Veronica Nagul) and calm the elderly in the decline of Oma Thurman.

IO9 speaks with director Victoria Mahani (Assistant Director Star Wars: Skywalker ascendingIt turned its guideline principle in taking over the story from the former director Jenna Prince Bood, as well as its end.

Isaiah Colbert, IO9: This film picks up the original 2020. What attracts you Old goalkeeper The universe, and what made helping a supplement a must be creative?

Victoria Mahouni: In different proportions of equal management, the actors, themes, (and) the procedure are behind the drama.

IO9: What was your creative northern star in forming a complementary tone, especially as it will be issued after five years of its predecessor?

Mahouni: Oh, I love it. I love a North star. With sincere respect, Old goalkeeper 1 was the northern star. It was extremely important to honor what was presented in a wonderful and measurable way. I did not want to betray what Gina put forward, and I thought that the actors did such a beautiful work with reasonable and honesty, dealing with this tremendous topic of “What if you could live forever?” I would like to say that my northern star was reasonable.

IO9: Eternity is still a meditation line in Old goalkeeperBut the work also works as a heart of his heart. How did you approach the film’s dance design to reflect the high physical and emotional development of its characters?

Mahouni: lovable. When a child (the first) climbed the trees, jumped from the trees, fell from the trees, and the signs of the going, and I learned myself how to ride a bike without a seat and brake, and I was always trying to enter the event, and do everything I saw in a fighting movie when I got out of the theater-where every other child was at that time. I was not really the right moves, but I thought I was. My wish (is) for some emotional pills when the individual transmits his arm, leg, neck, chin, heart and soul.

I am in depth in making sure that I feel why they are fighting, I feel they are resisting, and I feel that they are ignoring, and I feel that I feel punching, I feel that they are beating, and I feel that they are swinging, and I feel that they are running, I feel why they jump. I was deeply invested in this individual while they were moving, breathing, and moving, in exchange for “Oh, this was a kind of wonderful.” This terrifying mental state against when someone is, “holy shit!” This is what I am looking for.

IO9: With the UMA Thurman joining the actors’ team, the fans are pleased to see her sharing on the screen with Charlize Theron. How did their legacy like movement icons affect how to organize the direction of their confrontation?

Mahouni: There is something I want to return to it is interesting because I want to make key battles in quality. There is a lot, but with regard to Andy and Kiny, the components of that battle had to have 500 years of pain (and) thousands of years of history. In order to do this, I kept thinking Elizabeth Cobler Ross, the five stages of (sadness). Do not ask me why things (do not make) logically. It makes sense to have a teacher, Jolly Ariola, who taught me this book (On death and deathI made it part of my studies when I was training as an actor. Long from him is the teacher who gave me this and used it as a tool to study the humanitarian status (The).

Inside, there are these different feelings, and these feelings can be related to the original models. So when Andy and Kenie were fighting, I wanted, I needed, fought, and we demanded that we get pain, shame, and a sense of guilt, remorse, envy, loss and (and) excitement.

The battle had different characters. You can break it if you look at a microscope (in) how their action collapses. When they meet for the first time, there is a boost to defend the attack. Andy does not want to fight. She does not want to fight. And quynh like, “I am ridiculous takes you down.” Then, Boom, they are on the ground, then there is another work break. Somewhere there, it was important to realize that it was missing this battle. She was fighting with boring humans, did you know? Like, “Oh yes, this is what we do.”

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Then there was a rhythm on Quynh – if you look near, you will see. I gave it a note before we trained the scene. I was sitting with her every day, and I talked to her a lot about the conscience if you were in water for 500 years, so how does this affect how you wrapped you, mum or kicking? I talked to her and said: “I don’t care where he is. At some point of your battle, you have to notice something different from her. (Andy) You don’t know that you have lost your immortality, but Queen realizes it.” I said it was a distinguished place, “do it wherever you want. It should happen. When you take all of this with these two people, you have a history, it becomes more than just a narcotic battle in the alley with a wonderful music braid.

When this ends with Andy and Discord, two people on different sides of the rope for different reasons, and lived for thousands of years, the factors of deaths and eternity alive in each of them for various reasons without knowing the other. There is a trick. There is a cat and a mouse in the dialogue to fight. It is very fun. The rhythm and rhythm are everything. Emotionally, physically, psychologically, spiritually. It’s all.

IO9: The film ends on Cliffhanger, practically begging for follow -up. Was the third batch into consideration during production, or do you hope that the fans will help and help Netflix Viewship Greenight in the last chapter?

Mahouni: This depends on who you ask whether or not they have the third movie batch. I did not do because I went to work every day with the job task on hand. There are things I did in certain sequences that I wanted to make sure I was aware, in the same way when I entered and inherited the movie, which you want to be aware that you might cause a problem for someone later. So there were small things that I would realize if we did so, you will have an openness to go east or west.

But with regard to daily photography, the story, and the protection of what is happening on the specified day, at the specified moment, and what I must do (with) the sequence is at hand, I am at the present time. This is the only thing we do. There is no movie before, no previous movie. It is only at this moment.

The domestic duty before work today-before the camera rises in the pre-production stage-I have done all the labor that allows me to make sure that I protect the first movie. Then I ask questions regarding perhaps a third, but the rest is not from my work. I will not be there. There will be someone else, will be great and enjoyable, and I am enthusiastic about the masses.

IO9: With the arrival of the completion recently, what do you hope that viewers will carry with them, not only as a reward to wait, but as a permanent reminder, why is this story still deeply and why it deserves to bear it?

Mahouni: Part of the reason for choosing this movie is that I love feeling wonder when I watch movies. I want to wonder where the characters come from where to go. I want to wonder what they eat in the morning and what they will eat at night. I want to wonder if the person who loves him will love them. I want to wonder if they did not close the dual bachelors on the door in a chase scene, so why did they not closed the dual bachelors on the door when you are chased, right? I just want to know why, when you jump from a window in a chase scene, leave the window open. Close the window so that they do not know that you came out, right? I want to wonder.

I also want to wonder how they got this shot? “Oh my God, how do they invented that? Wow, what lens they used?” I want to wonder how they built this space? How long did it take to build this group? I want to wonder on both fronts of what is on the screen and how they seized what is on the screen.

Then, when everything is said and done, that is, a movie I watch at all, I want to wonder something, and it is not specific, and I do not care about what it is. I want the movie to surprise me. But when I wake up and go away from the movie theater, or when I am at home, I want wonder.

In this movie, if we are able to make people wonder what it means to live your life with some granules of honesty and care, about “life is short, even when you are long.” Everything happens in a passing minute, and how we treat people in a certain second. You can walk throughout the day and meet 42 people, but for one of these individuals, you may be the only person they talk to or communicate with. For any reason in the life of that person, they may have had no human relationship. They may not have seen anyone, no one looked in their eyes in years or months. So when I look at this person and smile, saying, “Hello, how are you?” wonder.

Old goalkeeper 2 Flow on Netflix.

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