Hello and welcome back to the Directors' Cut, brought to you by the Directors Guild of America.

This is our 500th episode, and we wanted to start by taking a moment to thank everyone who has

participated in our conversation series over the years. We also want to thank you, our listeners,

for supporting our show and our members' work since we started this podcast in 2015.

Whether you've joined us for the occasional conversation or this is also your 500th time

tuning in. We appreciate you. To celebrate, we want to highlight some of our most notable

discussions over our nine years on the air. We'll be revisiting the futuristic dunes of Iraqis,

the streets of 1970s Mexico City,

the trenches of World War I era Europe, and more,

as filmmakers give insight into their process

of building incredible cinematic experiences.

Our first clip takes us to a modern-day Los Angeles laundromat

where the struggling owner discovers that only she can save the multiverse.

Listen on as DJ award-winning directors Daniel Kwan and Daniel Shinerd

speak about filming everything everywhere all at once

with director Destin Daniel Creretton.

But I do want to talk about working with actors, getting performances.

It's not only Michelle, Stephanie Key, I mean, everybody killed it in this movie. So what did you find was your role as directors in shepherding that? Whenever, so I'm not, I'm like a computer nerd.

I'm terrible with humans. Like directing was, I did not think I was

going to become a director. He's like the theater guy. And so I owe so much to the Sundance

Lab, the Sundance Institute for taking us in early on with So Sorry Man. And specifically during

the director's lab, Joan Darling, I don't know if any of you have worked with her before. She's this

...