Hi. This is Wes Anderson. I’m the director of ‘Asteroid City.’ So this scene is close to the start of our film. We meet a common who has come to this city as one of many hosts of a gathering of younger junior astronomers and scientists, form of like a science honest in a meteor crater. And these are his opening remarks. The function was written for Jeffrey Wright, who I’ve labored with earlier than and who I really like. And what I believed is that this character goes to come back out and never simply set the stage for this conference they’re doing, however extra to set the stage for the last decade. One of the type of subtexts of our film has one thing to do with how this placid interval of the ‘50s is filled with anxiety and sort of these men with post-traumatic stress disorder that’s undiagnosed, that’s being handled by means of their households. And by the point we get 10 years later, the impact that it’ll have had on the subsequent era shall be so important that there’ll be an entire shift. Anyway, that’s form of a broad description of what’s on this little speech. “Chapter 1, I walk to school 18 miles each morning. Milked the goats, plucked the chickens, played hooky, caught fireflies, went skinny dipping in the watering holes, said my prayers every night, and got whipped with a maple switch twice a week. That was life.” We staged it in a manner the place it will occur in a single shot, and it will be a efficiency like one that somebody would give on a stage. And it was a stunning factor to look at Jeffrey Wright take this scene and simply develop it, and play it with a form of momentum and likewise type of a grandeur that was arresting to look at. Because on the day that we’re taking pictures it, I’m simply the viewers. “That was life. In the meantime, somebody else’s story. A man thinks up a number, divides it by a trillion, plus it into the square root of the circumference of the Earth, multiplied by the speed of a splitting atom, and voila. Progress. I’m not a scientist, you are. End of chapter 3.” The manner we stage the scene, it’s type of a sophisticated rig as a result of we’ve acquired to begin in a single place, then we pull again. Then, Jeffrey involves us, after which Jeffrey goes over right here, and we go over there. And Jeffrey goes over right here, and we go right here. And Jeffrey goes over right here, we transfer round facet to facet. And then, we push again in once more. Well to do this, you’re both going to work with a techno crane or one thing that type of telescopes and is a programmed distant head factor. Or you employ what we use, which is a loopy set of sideways dolly tracks with a bit of observe that glides on the highest of the three tracks. So you’ll be able to slide ahead and again and facet to facet, but it surely’s an especially advanced rig invented by our key grip Sanjay Sami. “To Dinah Campbell.” “It’s fueled by cosmic radiation instead of sunlight.” “For her work in the area of botanical acceleration.” “Unfortunately, it makes all vegetables toxic.” “The Red Giant Sash of Honor.” Then, we shift into him introducing us to the younger folks and what they’ve achieved, and so they every get a prize. And so there’s a sequence of astronomical, celestially themed medals and badges and different kinds of issues they get. But then, we see what every of those folks has achieved. And I feel they’re fairly spectacular, you understand? I imply, from the angle of actual life, they’ve achieved some superb work, these youngsters, as we present in these scenes. [APPLAUSE]