There was initially interest in making the film at a major U.S. studio.
Buthow did youacquire the knowledge of story required to make the jump into features?
DANNYPHILIPPOU: Pretty much analyzing so many other films and consuming so much of it.
‘Talk to Me’ filmmakers Danny and Michael PhilippouMichael Buckner/Getty Images/A24
MICHAELPHILIPPOU: I think its also surrounding yourself with people smarter than you in their fields.
Like, we did a workshop with Samantha Jennings, who produced our film.
DANNY: The essence [was] there, the characters were there.
Joe Bird inTalk to MeA24 / Courtesy Everett Collection
So all that stuff was there, and then…
MICHAEL: …It was a lot more cutthroat.
It was a lot more violent.
DEADLINE: Youre part of a movement these days of artists coming to mainstream cinema from platforms like YouTube.
What do you see as the challenges and opportunities for creatives looking to launch careers through these channels?
MICHAEL: Theres a weird stigma that comes with being a YouTuber.
Especially when you want to transition to anything else, its like you get branded as a YouTuber.
But YouTubes a platform to share your content internationally at the click of a button.
Initially, it was on a wooden board, and it was nailed to it.
But then we found the weighted base throughout…that collaboration with those heads of departments.
MICHAEL: I remember the concept art, there was like 12 completely different types.
And one just stuck out, in particular.
We knew that we werent going to have final cut, we wouldnt have final say on cast.
And they were just giving some creative notes, which by the way, werent bad.
We really wanted to stick by what wed written initially and didnt want to overdevelop it.
But it was a very tough decision, and they were seriously the nicest people.
I hate to make it look like were sh*t-talking them.
[Laughs]
DEADLINE: What did you hope to capture, as far as Australian youth culture?
You know how they say seven of the 10 most dangerous creatures [live] in Australia?
We havent seen any of them.
So, it just felt natural.
And also just the dialect.
DANNY: We grew up and know those voices that are around us.
We captured the people around us and captured their voices.
Thats what was what most comfortable to shoot.
It seems like that aspect of the writing process must have been fun.
Like, Talk to me.
I need someone to talk to, and Im letting you into my body.
Im connecting to this unnatural thing to feel good.
So, we just tried to really ground it in the characters.
DEADLINE: Were there specific tricks you employed to give the film such visceral atmosphere?
And its sort of tied to the movement that the spirit is doing around the room.
MICHAEL: The sound design, as well, because theres so much you might do through sound.
Theres so much effort that we put into the soundscape.
Its tied to the way [spirits] died, to [character] themes.
Theres a lot of that with the sound and the music.
DANNY: Well, it was two years of casting due to Covid, as well.
But we got to really comb through different auditions and find the people that were right.
But Joe [Bird] came into the room and did that possession in front of us.
Thedirectingis just heightening that, but you need someone that has that talent and skill already.
MICHAEL: Also, patience [was required], because there were a lot of prosthetics…
DEADLINE: What is it like having a twin brother director?
Danny wouldve filmed it; I would be in front of the camera and do sound effects and music.
You know, if its one person doing all of it, like Spielberg, god.
My hats off to them because its so difficult doing a film.
DANNY: Its like youve grown up together.
MICHAEL: It was mainly in post.
It was the music.
That was the most difficult.
MICHAEL: Yeah, its funny.
DEADLINE: Why was getting the films music together so hard?
But I can show you through sound and music.
DANNY: But it was edited to certain musical beats, as well.
We were constantly editing while we were on set, and it was always edited to these temp scores.
Then, we did the mix and tried to make it work, and it was genuinely really stressful.
Then, we had to get a second go at the music and another mix.
And I was like, Weve got no music.
Weve got no film here.
I dont know what were going to do.
So thats where having an awesome producer, Samantha Jennings, was [critical].
She was like, Were so close to finish line.
Lets not fumble this now.
Lets finish this properly and do the music again.
DANNY: Poor Michael broke down crying in the music suite.
How did you come to the decision to actively go even deeper in your exploration ofthisworld at the time?
So, theres scenes for a sequel, yeah.
And if A24 want it, Ill bloody give it to them.
What are the characters going to do after?
How theyre going to interact after the climax.
[Laughs] But its just fun because you love the characters and can just keep going.
DANNY: You take one for a walk and see where it goes.
DEADLINE: You anticipate that a sequel could center on an entirely new set of characters?
MICHAEL: What do you think?
Do you reckon we should do a new story or continue?
What do you think?
Im really excited by the idea of creating more original work.
But weve got a lifetime of stories and original concepts that we want to do.
Id more inclined, I really want to do mainly original stuff.
We got signed on to developStreet Fighter, which has an amazing lore, characters and world.
But then we have so many original ideas.
MICHAEL: Its interesting; Ill just speak from my experience with it.
Were used to just making the thing, its finished, and we click upload.
I just read the reception and critic reviews and things like that.
So, this whole past four months has been so new to us.
DANNY: So were definitely the wrong person to ask.
[Laughs]
MICHAEL: I just hope that well get the opportunity to keep creating our original stories.
Because thats whats in us.
DANNY: Im also also open to book adaptations, Ill say.
Im excited about some book adaptations, too.
What has the experience been like?
DANNY: Literally every time was just us fanboying the whole time.
[Laughs]
MICHAEL: Its interesting.
It feels like Im kind of interfering with history, in a way.
[Laughs] Its like, We shouldnt be in a conversation with these guys.
Why are we at dinner with Sam Raimi and getting a call with Jordan Peele?
The imposter syndrome is massive.
Weve met so many of them now, and theyre all f***ing awesome.
While that route can obviously work, weve certainly seen that it doesnt for everyone.
DANNY: Just with those conversations with the studio.
We want to make stuff that were really passionate about and put everything into it.
Thats what we want.
