You are listening to The Next Best Picture podcast, and these are Dan Bears interviews with two of the stars from Ferrari,

and Elie Cruz and Gabriel Leone, and Brandon Hodges' interview with the film cinematographer, Eric Messerschmitt. Hi, Penelope. Thank you so much for joining us today.

How are you? Thank you very much. I'm doing well. You've called Michael Mann's approach to making Ferrari more artisanal.

And I'm wondering how this influenced the vibe on set

compared to other films you've worked on.

I feel like it's very similar to the way that Pedro Almodova works

because they are both very, very obsessed about each detail.

And I always really respect that.

I never think, oh, that is too much.

The material of the bottom of the thing.

It makes total sense to me that one millimeter left or right in the camera.

He was setting up a shot with me in more than a 42 degrees under the sun in the middle of the street.

And I know that millimeter matters to him.

And when you see the movie, all of those decisions, big or small, they will matter.

So I respect a lot that way of working.

And I feel like cinema cannot lose those

values and that rhythm and that process because it's such a privilege to be able to make a film.

And when things get into that speed of, I don't know, that doesn't matter that in the result,

I think doesn't have the same magic.

So that artisanal way that I was talking about, you know, with Michael, I always say that

as a compliment because he's very tough and he's very demanding, but he gives everything.

So that is actually a blessing to have somebody that thinks that you can give more.

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