What made you want to set up the film or specifically about the music industry? Was that partly because of the rise of Stan culture nowadays or the cult power that the stars of the past cultivated to hold their fans? Was it a combination of both of you? What inspired you to go in that direction?

A little of the two points, which are really smart points, but I wanted to choose something where it is He felt well. So, part of my question with the tribal, which is something that extends well from the party, is that it is so separating. I have never met you, Bill. Never introduced me. Where are you from?

I was born in Massachusetts, I moved to Michigan when I was 10 years old.

Well, let's say it's raised in Michigan and I'm from the Midwest. Maybe we are sitting next to each other in the cinema. I'm probably older than you, so we're different ages from different places, and we both love horror movies, but out of that, we're just strangers. We are strangers in experience. And, I wanted to do something that felt like we spoke their heads together and watched at the same time, then perhaps, through this a lot of fun, experience with wild driving, we wouldn't be so resistant to talk to one another, ask a question, and for you to have a different answer from me, and for me, and for me.

And I felt like making the movie as much as possible is the most effective way to hope to achieve this goal. And that's why I chose pop music that created the question of having to create pop music, which is an expensive, very difficult endeavor, but Neil and the dream and Johnon (Malkovich) and all, all engineers and crazy people of A24 that allow me to do this, the songs are so good. And that experience, I think, is increased in a very fun place because of it.

I think Opus is among a group of films for fictional pop stars or fictional bands where the songs are legitimately as good as they should be to sell that this is the main popstarvisor in this fictional world. And you've been talking about it a little bit, but I was wondering what the process was about getting those songs properly, because they should not only sound good, they need to be legitimate good, all that. But I also think, of course, about the scene of the listening party and that scene works on several levels once you know everything that happens. Was there thinking when they entered the textbooks?

Ah, it's so hard. It is one of the most difficult things in making this film. Because you have no money, so you have to convince people who make millions and millions of dollars to do so without money. Both Dream and Neil worked with Beyoncé at the time, so I had to take time from Beyoncé. Beyonce, if you read this, I'm so sorry. And so, in itself, just to make them say they will try, is like a damn close to impossible. And then you need to get them to make these songs in your rock. And also they need to lead. You had to send the songs they want and be like, "no, you have to do it", or "it must fit into the story", because at the end of the day, the story is king, it's my boss.

And then, if you can do it all, which is damn almost impossible, you have to get the actor to get in and for the way I shoot it, to do it before the movie, before the pre-production and enter and sing these songs. And they have to do that. And it was really important for me that the first thing Johnon did like Moretti was music. So, all of these things, all these little miracles of the baby, need to happen so you can pull this. And they did. And we did. It's one of the most ambitious things about the film, but I'm just deeply grateful to everyone. And I hear the songs constantly, still.