In Your Dreams director Alex Woo discusses the film’s inspirations, powerful message, and working with the incredibly talented Cristin Milioti.

Director Alex Woo’s new animated film, In Your Dreams, takes audiences on an extraordinary adventure through the surreal landscape of a child’s imagination. Premiering on Netflix on November 14, the film follows siblings Stevie and Elliot, who, in a last-ditch effort to keep their family together, journey into their dreams to find the Sandman.

It explores the complexities of family and hope, particularly for children navigating the emotional turmoil of divorce – something I have, myself, experienced, which allowed me to truly resonate with and relate to this beautiful film.

Mama’s Geeky recently spoke with Alex Woo, who shared his vision for the story, the deliberate creative choices made along the way, and the joy of working with a talented cast and crew.

A Powerful Message About Hope & Family

Alex Woo explains that he intentionally left the film off on more of an ambiguous note, emphasizing that the bond between the family remains.

“I mean, hopefully it doesn’t give people false hope,” he explained. “I think the ending is a little bit ambiguous. We don’t know what’s gonna happen, what’s in store for them.”

“The message of the movie, hopefully it comes through, is that no matter what happens, you’re always going be a family. The love is always gonna be there. It might manifest itself in a different way or a different form, the love’s always gonna be there. And especially the bond that Stevie has with Elliot. She can’t divorce her brother. He can’t divorce her, so they’re always gonna be together.”

Cristin Milioti Is A Dream To Work With

Fans will recognize the voice of Cristin Milioti, who plays Mom. Her involvement was a “dream come true” for Woo. He describes her performance as a private concert, marveling at her talent and range.

“It really was a dream come true to have her in this movie and perform. When she recorded that original song, it was like I was getting a private concert because every time she performed it, she was so good. She is so talented. I mean, she got nominated for an Emmy for The Penguin.” Yeah. I think,I hopeFingers crossed she wins. She wins. I think she won a Grammy for once.”

Note: Since the interview, Cristin did indeed win the Emmy for The Penguin.

Alex Woo Reveals The Importance Of Carefully Placed Objects

During the interview, Alex Woo shared one of the more absurd moments from the film’s production. There was a long discussion about how to handle a scene with the character Elliot, who appears naked after shedding his dream self. The team debated various methods of censorship, from a black bar to carefully placed objects.

“It was super fun to have those discussions,” Woo laughed, “but at some point I’m like, this is crazy that this is my job.”

Be sure to watch In Your Dreams when it heads to Netflix on November 14.

NEXT: Bringing Dreams to Life: A Deep Dive into the Animation of In Your Dreams

About In Your Dreams

Stevie and her little brother Elliot journey into the wildly absurd landscape of their own dreams to ask the Sandman to grant them the perfect family.

Gore Verbinski discusses his new film, Sam Rockwell, and the timely commentary on technology and humanity in Good Luck, Have Fun, Don’t Die.

Good Luck, Have Fun, Don’t Die premiered at Fantastic Fest 2025 as one of the secret screenings and blew audiences away. It is a timely movie that is completely unafraid to tackle the issues with our world today, in a way that is not only entertaining, but actually funny.

Mama’s Geeky caught up with director Gore Verbinski about this incredible film to talk about the amazing cast, walking the fine line of making serious things funny, and why Fantastic Fest was the perfect audience for it.

Good Luck, Have Fun, Don’t Die Needs To Be Experienced As Blind As Possible

Mama’s Geeky: Well, first of all, congratulations. I loved Good Luck, Have Fun, Don’t Die. It became my favorite of the festival. I love that I went in knowing basically nothing about it. So I’m curious how much you plan to work with, like, marketing on trailer cutting, because I feel like there’s a lot of stuff that should hopefully be kept from audiences.

Gore Verbinski: We’re counting on you guys to make the noise. I don’t even know if we have a trailer.

Mama’s Geeky: You’ll have one eventually, right?

Gore Verbinski: We’ll have one. I’m sure we’ll have one. But it’s a very small marketing spend. So it was important to come to Fantastic Fest. Well, it’s just like Sam Rockwell’s coming to Norm’s to recruit. We’re looking for 10 champions out of Fantastic Fest who can make some noise, because I think this movie’s been scrappy from the beginning, and I think it’s going to be scrappy right to the end.

Finding Humor in Humanity

Mama’s Geeky: Juno Temple’s story, I found myself crying during part of it, and then laughing and thinking to myself, “Should I be laughing at this?”

Gore Verbinski: I know. It’s a tough one to pull off. I think it’s so important that she reacts humanely in an increasingly inhumane world. I think that’s this Kafkaesque narrative that we’re driving on the road, and we keep changing tires, but the road’s filled with nails, but all we want to do is change tires. I think it has something powerful to say through absurdity, and it was interesting to see. That’s why it’s so important to see this movie with an audience, because you start to go, “Is it okay to laugh?” And then somebody laughs, and then you’re kind of, “Okay,” and then you see it build up, and by the time that couple’s talking about, “We’re really tall,” it’s so great. Just seeing it with an audience, I think it’s, because you’re in the editing room, and you’re kind of, “Okay, I think this is the shape that’s going to work.”

Mama’s Geeky: How many cuts does it take to really hone that in in the right tone?

Gore Verbinski: Well, we have a great editor, Craig Wood, who I think really understands that, but also Juno’s just, you know, she’s kind of keeping it, I think that’s the key. It’s not funny to her. So she’s reacting as we’re reacting to this kind of absurd world, and her want is true, right? Her want is to get her kid back. It’s just kind of a joyous, weird, sweet and sour film.

Why Sam Rockwell Was So Perfect For His Good Luck, Have Fun, Don’t Die Role

Mama’s Geeky: Right from the opening scene with Sam Rockwell, I was like, “Oh, I am so in on this movie.”

Gore Verbinski: He’s great.

Mama’s Geeky: Can you talk about casting him and what makes him so perfect for this role in Good Luck, Have Fun, Don’t Die?

Gore Verbinski: Yeah, we’ve been trying to work together for about 15 years, 20 years. I mean, we touched base. I met Sam, God, it must have been forever ago. We keep talking about trying to do something, and when I sent him the script, he was all in immediately. I mean, I think he saw himself as the man from the future, and that opening sequence, you don’t really start most movies with an 11-page monologue.

Mama’s Geeky: Is it 11 pages?

Gore Verbinski: Yeah, that was the one that was really tough. We did a lot of work. We recorded it, rehearsed it. I ended up designing the interior of the space for his choreography, just so it wouldn’t be boring, so you have to be engaged. I think the patrons of that diner are very much the audience in terms of, “I don’t believe this guy,” and by the end of that scene, you’re willing to go on a journey.

Mama’s Geeky: I’ve got to talk about his outfit. How did you come up with that, and how was it made?

Gore Verbinski: Well, we didn’t have any money, so we actually, Yeji and my assistant and I and Garrett, we went to this place that I used to go to on San Fernando Boulevard called Apex Electronics, and it’s just this massive hardware store of used and broken shit from old TVs and tubes and Soviet electronics, and we just, “oh, I’ll take three of those blue ones and one of those spinny things,” and we kind of started building his suit from scratch. So it was homemade, and I think in a way that you, I think it’s important that at the beginning of the film you feel like maybe this guy crawled out of a dumpster and wandered into norms and was kind of one of those vagrants who maybe at one point studied Shakespeare, but needs to be in a hospital. There’s something, like a rubber band snapped somewhere. So you think of that untrustworthy narrator, and throughout the journey you’re not quite sure if the person leading you knows where he’s going. I think that’s really that sort of wobbly narrative. I’ve always been fascinated by the misfits. And I think this movie, we didn’t, the future didn’t send Arnold Schwarzenegger, it sent Sam Rockwell. That’s how fucked up the future is, right? That’s the best thing we got. This is what we have, and that’s it. He’s just a joy to work with. He’s a phenomenon. And you kind of have to, as a director, you sort of have to design a slightly looser frame, I think, because he’s never going to do the same thing twice. I mean, certain actors can put it on a dime. I think Sam is always pursuing some way to be honest, and that may take him to the left or to the right, and you’re blocking, and you just have to be ready for it.

Mama’s Geeky: Was there a lot of improv with him for Good Luck, Have Fun, Don’t Die?

Gore Verbinski: Oh, yeah. Yeah. I mean, we had it really blocked out. We had it timed. We had it blocked out. We knew on what line you’re getting up on the table, and what line you’re, but there’s still a lot of, there’s no matching take to take. We’re saying, it’s just whatever happens, you got to go with it.

Timely & Relatable Commentary on Technology

Mama’s Geeky: One of the things I related to a lot is, towards the beginning, all the teenagers are just on their phones, in class, completely zoned out. How important do you think it is to put something like that on screen?

Gore Verbinski: Well, I think in the case of a movie that’s about AI, that’s the sort of, I mean, that’s the beginning, right? I mean, the fact that we don’t communicate with each other, I think is essential to sort of what, you know, it fascinates me that AI sort of, right out of the gate, is taking songwriting and illustration, and all of these kind of, like, what is it going to do next? Does it want to breathe for us? Like, there are certain things we, like, go just, you know, cure cancer, go to Mars. Like, what are you doing attacking the shit that we need to do?

It’s like campfire storytelling. No, we’ll tell the story. It’s like, no, no, we have to sit around a campfire and tell a story. That’s what makes us human, and it’s coming after that, and I think that’s partly because the origins, it’s sort of pre-sentient moment is sort of studying our user profile. Like, it’s like, “How do we keep humans engaged? What are they buying?” It was tasked with sort of creating algorithms for how to keep people engaged, and I think it’s, you know, it’s, I think part of that is now in its kind of source code, and that’s why I think our villain isn’t Skynet, you know, “exterminate humans.” Our villain is, it’s kind of worse. It’s like, it wants you to like it. You know, it’s gonna demand that you like it.

Mama’s Geeky: I feel like social media, if it wasn’t for my job, I’d try to not be on it, because I just get sucked in.

Gore Verbinski: Yeah, no, it’s super addicting. I mean, I don’t have social media, because I would probably like it too much, you know? I mean, it’s definitely a drug. It’s fascinating. It’s always been really nice to come to Fantastic Fest, because I feel like we’re in a theater, we’re all together in one space, we’re watching this movie, we’re talking about it together.

The Fantastic Fest Experience

Mama’s Geeky: What do you think it is about Fantastic Fest that made this the perfect place to premiere Good Luck, Have Fun, Don’t Die?

Gore Verbinski: It’s funny, because Lisa, as soon as she saw it, she said, “there’s no movie that’s more brand aligned.” And I thought, okay, that’s spot on. I mean, I think, I’m a big fan of sort of, I think the castaways are the ones who are going to come back and sail back in and save the world. I like misfits. I like, you know, the anti-hero. I think there’s something about that Norm’s Diner. It’s not movie stars, and it’s not the military. It’s Norm’s. And I think something about, you know, Fantastic Fest is like, “these are the champions.” Like, this is where this movie, this is where we’re going to find the heroes for this story. It’s at this place. And just talking with everybody, I feel like we all kind of have a kinship, you know? We feel like what we like.

Good Luck, Have Fun, Don’t Die comes out on January 30th and you should see it on the biggest screen possible.

NEXT: Good Luck, Have Fun, Don’t Die Review [Fantastic Fest 2025]

The APPOFENIACS cast and director discuss the film’s timely AI horror, incredible practical effects, and memorable moments at Fantastic Fest.

There’s no shortage of great movies at Fantastic Fest, but every year a few stand out from the pack. One of those in 2025 is APPOFENIACS, a new horror from writer/director Chris Marrs Piliero. With a clever, timely premise and a fresh take on the genre, it’s one of the best films of the festival and a must-see for anyone who loves clever horror.

Tessa Smith from Mama’s Geeky and Rachel Leishman from The Mary Sue sat down with Chris Marrs Piliero and actors Aaron Holliday, Michael Abbott Jr., and Paige Searcy, and Simran Jehani during the film festival. We discussed the timely nature of an AI horror film, how the movie focuses on the human element of technology, and the incredible practical effects that bring the film’s brutal kills to life. We also talked about our favorite weapons from film and television.

On The Timeliness Of APPOFENIACS

Rachel Leishman: I love that APPOFENIACS came out at a time when everyone is currently using AI to make it seem like they met their favorite actor. It’s so weird, but also what a movie to come out at that time. How exciting is it to be putting out a horror movie about AI at a time where everyone’s just using it for the dumbest reason?

Chris Marrs Piliero: I mean, that’s part of the reason for the timing. Yeah, no, I mean, it was just one of those things that I’m really fascinated with this technology. I’ve been tracking it, and so as the idea floated in my head and once it finally clicked, I was just like, I need to move full force with this because I see how quickly it’s moving. So, I wanted to make sure that I was getting the film complete so that way I could try and release it around the time that this is happening because, yeah, I just kind of saw the trajectory of it and how it was playing out.

You’re saying that right now a lot of people are using it for bullshit stuff with posing with a celebrity and whatnot. I mean, the amount of deepfakes I’ve seen of people pretending that they’ve met Michael Abbott Jr. is just insane. I think that that bullshit kind of use of it kind of speaks to an element of the film in the sense that there is the grander scope of how this can be used and politically, globally, the impact it can have, but also just on a smaller level, how easy it is to create an image of you with Michael Abbott Jr. with boobs. To that effect, you can easily do that to fuck with somebody. It’s so easy and so realistic, and it’s wild that we all have that power in our phones.That blows my mind. I mean, I spend time just, like, sitting at home talking to myself about just, like, not really talking to myself, but thinking. 

The amount of times I’ve actually caught myself thinking about how crazy it is that, like, we use these phones. They’re so fucking powerful, and we have no idea how they work. And it’s just wild how crazy this technology is and how just easily we just use it and recklessly and with no regard to who’s on the receiving end of it. I think also a lack of appreciation of it makes it almost, like, leans towards using it frivolously because of the fact that we don’t appreciate or really understand. kind of find that fascinating, and just how easy it is just to create something to trick someone. And so the story is just focusing on more of the human element of it. Technology is an important catalyst, but I make a point of, like, spending very little screen time on that actual aspect and more so on how we look at that, how we respond, and how the next person’s going to react and respond to that and then have fun with, like, kind of, you know, turning the dial up to 11 and taking reality and just kind of having fun with it of how crazy things can get.

Simran Jehani: Well, what I would say has been so fun, just to add on to that a little bit, is, like, everyone who’s seen the movie has something that they can relate to in their lives that they’ve experienced with AI or deepfake videos, and everyone is going through it right now. So it just seems like it came at a perfect time for everyone to hopefully take heed from it.

Aaron Holliday: Again, no famous people, no politicians, that’s not what this is about, which is, I feel like, so much of what you see. Or those cat AI TikToks, you know, I get addicted to those, or the gorilla ones. Have you seen the gorilla one with the bow? So you can get caught up in those and, you know, have a laugh, but I think what makes this film so unique in its way and so fucking scary is that it is everyday life, and it is attacking everyday people. And just as easily as somebody can leave a hateful comment on an Instagram photo, now people can use your face to send your friends or family that they don’t know a video of you doing something horrible to them, or whatever they want. And they’re not necessarily this evil supervillain sitting in their lair, right? They won’t even think about it five minutes later. And that’s the scariest part.

On Creating A Different Type Of Villain

Tessa Smith: One of my favorite parts about it is that the villain in APPOFENIACS is just a dick. He’s not like a slasher killer, he’s just an ass. He’s like, “This person did something terrible, I’m gonna create this video and mess with their day.” And that’s it.

Aaron Holliday: Unhinged. Or just, “I’m annoyed that this person is having more fun than me,” and “I wish I had their life, really.” So it’s pretty scary.

Tessa Smith: It’s crazy because it could fully happen in real life. And probably does.

Chris Marrs Piliero: It absolutely does, and it will more and more. And it’s going to be interesting to see how we even navigate that. Because with our whole confirmation bias, which is what the apathy and aspect of it plays into, something that I’m really interested to see is, as this becomes more mainstream, and as people, as a society, as we totally accept that these things exist, then there’s going to have to be something that is put into place to help us figure out what is real and what is not. I feel like at that point, we’re in this downward spiral where, even if someone tells you, “I’ve created something that can tell you whether or not this is real or fake,” we’re going to have so much distrust that you’re not even going to believe the thing that’s telling you whether or not you can believe this.

On the Film’s Practical Effects

Tessa Smith: I do want to mention the practical effects. Can you guys talk about, because those are amazing. Anyone can talk about an experience with it without spoiling anything.

Chris Marrs Piliero: I’ll give a shout out to Alyssa Holbrook, Allie Shehorn, and Ingrid Weeks, who are our trio of special effects team. They did an incredible job. This is an indie film. This was a scrappy indie film. I cannot stress that enough. They brought it. They were so committed and passionate about this film and making sure that those moments all looked awesome. They worked their ass off and did such a great job. I want to give a shout out to our VFX team as well. It definitely is a team effort as far as what they both put into it. They both did a very great job of enhancing and whatnot, making all those moments work.

There is a lot of practical. There are certain moments that the VFX team went in and made something really cool. There are certain moments that you wouldn’t think that are completely practical and they are, which is really awesome. They did such a cool job. It was really important for me to try and stay on a lot. There are certain moments I really wanted to try and make it as uncomfortable as possible. It looked so cool. They did such a great job. I wanted to stay on it. There are shots we stay on for a good amount of time. That shit is practical. Our special effects team killed it.

Aaron Holliday: A testament to everybody working together so well because it is a true indie. We did not have that many takes and we couldn’t reset these practical effects many times. Sometimes not even more than once. It was a testament to everybody being on their A-game and making this happen. It was rare that we had more than two takes. There are multiple moments of one take. When you are using that much practical effects, it can be messy. It can be nerve-wracking. As an actor, you see all of this preparation and everyone working for hours and then it is on you to deliver this one and you have to deal with something that isn’t part of your body. It is a different entity.

On Favorite Fictional Weapons

Rachel Leishman: When you have a cosplayer character it means there are some pretty cool weapons you get to use in APPOFENIACS. If you got to use any weapon from a movie or TV show, what would you have someone create for you?

Paige Searcy: I love archery. A bow and arrow of some sort. Hunger Games, Hawkeye. Maybe a bow and arrow she can shoot across the world. Something wild like that.

Simran Jehani: I don’t know if mine is technically considered a weapon. I am just trying to be different. She is like Diana. Oh my god. My presence. I think it would have to be Wolverine’s claws that come out of there. It is inside of the body. I guess he is weaponized in a way. I would love that because I love using my hands like that and getting up close and personal if I am going to be attacking someone. That is about me. That is what I would use.

Aaron Holliday: I love love love love Zelda. Link and his sword is a dream of mine. That is all I got to say.

Michael Abbott Jr.: This is a weird question. I think maybe Edward Scissorhands or Freddy Krueger. I like the glove. I like the blades on the fingers. These things all scare me. Horror freaks me out. I am gentle and have nightmares. I like the idea of Freddy Krueger or Edward Scissorhands.

Chris Marrs Piliero: I would say that I love the scene in Little Shop of Horrors where Steve Martin has a dentist. I would take those tools that he is using and take that to another level.

NEXT: Jalmari Helander On Sisu: Road to Revenge: “F Off. It’s A Movie.”

V/H/S Halloween directors open up about the biggest challenges of filming an anthology series found footage film during Fantastic Fest interview.

Fantastic Fest, the largest genre film festival in the U.S., is the perfect place to celebrate all things horror, and this year, it brought us a special treat: V/H/S Halloween. The latest installment in the popular found footage anthology series, this film delivers six terrifying tales of Halloween horror.

Mama’s Geeky sit down with the directors behind the unsettling segments to discuss the challenges and thrills of working in this unique format. They reveal the secrets of creating a compelling found footage film. From working while being in the dark about the other shorts to the unexpected difficulties of shooting during the wrong season, the directors share their experiences on everything that went into making this frightful flick.

Who Directed Which Short In V/H/S Halloween?

Paco Plaza: I’m Paco Plaza, and my short film is called UT SUPRA SIC INFRA.

Casper Kelly: Casper Kelly, Fun Size.

Bryan M. Ferguson: Bryan M. Ferguson, Diet Phantasma.

Anna Zlokovic: Anna Zlokovic, Coochie Coochie Coo.

Micheline Pitt-Norman & R.H. Norman: Micheline Pitt-Norman and R.H. Norman. And we did Home Haunt.

Alex Ross Perry: Alex Ross-Perry, Kid Print.

Filming V/H/S Halloween While In The Dark About The Other Shorts

Mama’s Geeky: One thing I always wonder with V/H/S is, how much do you guys know about what the other shorts are?

Paco Plaza: In my case, nothing at all. I think zero information.

Micheline Pitt-Norman: I feel like the LA crew, we got to visit each other and see each other because we were all working, and then Casper kind of came in when we were doing stuff too. So we did get to see bits and pieces of each other’s, but we didn’t have a full understanding of everything.

Anna Zlokovic: I got to visit Casper’s set for like two hours, and then I was like, “Oh, cool.” But still, I mean, you guys sent me the script, so I kind of had an idea. We shared scripts back and forth. But again, I made new friends. That’s my favorite thing.

Alex Ross Perry: I knew nothing. The only thing I ever asked was, “What is the wraparound?” because we were at one point debating, “Do we open this way or that way?” I said, “Does the wraparound ease you in?” and I was told like, “No, every piece of the wraparound ends with an insane kill.” And I was like, okay, so we need to start less rather than more. That was the only thing I ever was like, “I need to know what the 30 seconds before our start is.”

Mama’s Geeky: What would you guys say is the biggest challenge working on a short for V/H/S Halloween?

Paco Plaza: I think the most challenging thing was being in the dark with the other stories, like trying to fill in a hole of something you don’t know what it is.

Casper Kelly: There were so many challenges. Everything can go wrong. But yeah, those darn conveyor belts, which people had to pull. It was a bear.

Bryan M. Ferguson: Biggest challenge? Three days, limited resources, and 100 practical effects and camera. So pretty much all of it. But yeah, we got there. And I think everybody’s gonna be the same where it’s just, it’s hard as fuck to make a film.

Anna Zlokovic: Yeah, everything is hard. I’m still tired. For me, I had never done long takes like that before. I usually do a lot of coverage. But it was really cool. There were a lot of practical effects and VFX and blocking changes and camera blocking. That was really crazy, and that was hard. But it was fun.

R.H. Norman: We just were really ambitious, and we were building sets and striking sets the same day that we were shooting. And we had like a week to make everything and do it. I don’t know how we did it.

Micheline Pitt-Norman: I would second everything she said, it was very difficult. The other thing that was very difficult for us was tone, really establishing tone. We wanted to do these kind of like dark, messed-up Amblin kind of things, and you can either veer too quickly into comedy or be too self-serious while massacring 15 kids. We really struggled to strike the right balance of tone where it’s playful and tongue in cheek but also not a complete joke.

Alex Ross Perry: I guess like, no one’s mentioning the obvious, which is, if you want to make a Halloween movie, you could do it. There’s five weeks of the year, you could do it with zero production design budget, and it would look great. And we did not shoot in those five weeks. Also, every member of your crew and your cast, you’re introducing them to a visual language of filmmaking that is probably something they don’t know. From a technical and an acting standpoint, half of the people are like, “I don’t know the rules of the genre we are making.” And you are constantly instructing performers to look at the lens and act in a way that is antithetical to everything they’ve ever tried to do.

Why Fans Love Found Footage & The V/H/S Films

Mama’s Geeky: What do you guys think it is about found footage stuff that really makes people love it as a genre?

Paco Plaza: It’s an experience in some ways closer to video games in which you feel you are there. There is some people tend to attach this kind of filmmaking to reality shows. So the sense of reality in a way increases just by the way you’re shooting. You can’t help but think there’s some sense of truth in what you are watching.

Anna Zlokovic: Yeah, I think it activates the mirror neurons of like, what you’re saying, you feel like it’s you. So it really puts you in the film.

R.H. Norman: Just to reiterate that, this is the POV. So it puts the audience member in the film. You’re seeing it from like your own perspective of what’s going on. I think that’s sort of the core audience for this. They want to be in it, they want to be involved. And it’s just scarier if they feel like they’re actually in it.

Alex Ross Perry: I get like, to me, what’s one of the most fun moments in any horror movie when a character goes either upstairs or downstairs, right? And the audience is like, “Don’t do that.” That’s the best. And to me, found footage, from its beginnings, every minute of a found footage movie, when done well, can be “Don’t do that.” It makes you an active participant in the character’s choices. It’s subjective filmmaking. It’s become this language of subjectivity, where you are in the movie.

Everyone Was Impressed By The Wrap Around Segments

Mama’s Geeky: Besides your own, which one did you find the most interesting?

R.H. Norman: Can I give a good honest answer about this? I don’t think that question makes sense for this installment. I think everyone contributed something that’s so unique and so a thing unto itself that it doesn’t even make sense to compare. But one person I would like to give a lot of credit to because I think this is the hardest thing is Bryan’s. Wrap arounds are very difficult. I feel like he nailed the assignment, and I feel like he understood that he came in from a really like, “I also have to give support to the rest of the things.” He picked everything back up every time. And it was just really, I think that he was the glue that held us all together.

NEXT: Jalmari Helander On Sisu: Road to Revenge: “F Off. It’s A Movie.”