The Cast of BEETLEJUICE BEETLEJUICE Is Excited For Burton's Sequel! (also Justin Loves David Lynch)

Intro we're working with a choreographer but he's like whatever yeah let's you know he's got great ideas and we're proba going to use this we're we're not going to be you know just just do whatever leave the takes Jenna Ortega & Catherina O'Hara [Applause] rolling you guys got to both participate I'm not going to spoil them a couple of musical numbers in the movie did you did you find that the energy and anticipation levels spiked on those shooting days oh yeah yes yes that was cool mostly because we know what we were doing the stress yeah but also it's stress but like a a exciting or fun stress because it's like do anything just yeah just do some moves and you know we're working with a choreographer but he's like whatever yeah let's you know he's got great ideas like we're going to use this we're we're not going to be you know just just do whatever leave the takes rolling when you want it you know we just and are you really doing you're doing the whole song are you really part of was also trying to make each other break or like seeing what we could do to ruin the shot which was good as well it was crazy and great obviously you two are both Veterans of the uh Tim Burton School of eccentric Outsiders especially given that that's been hiso for like 40 years now how would you say astd and deia are kind of extensions of Tim O well I'm an artist MH just like Tim just deia is just as talented as is Tim Burton in her Dreams yeah I would say for ASD maybe it's the sense of you feeling misunderstood and um also just not really caring for people's BS I feel like Tim has a pretty good read on people and Ash's the same where she can meet someone and clock everything that's wrong with them within the first 20 seconds that's great and right yeah astd and Wednesday are both these private school students with their own unique way how do you think Wednesday would have dealt with Beetlejuice and his Shenanigans I think she would have killed him I think she would have I don't know how she I think kind of it's kind of funny because the way that Michael is kind of scared of Monica Baluchi's character Dolores I think it maybe would have been a same I think she probably could have given him a run for his money she also would have liked the afterlife and probably wouldn't want to leave it so that Katherine it's it's interesting to me because like I know that when you guys did the first movie it wasn't int initially intended to be so comedic and it sort of evolved because of you guys um really who said that it's it's part of the lore of the movie yeah but did you find that in this movie they were just as concerned with balancing the dramatic elements with the comedic elements most of us just think that way you want to have it all there you know the story definitely helped ground you know the the women's characters especially you know lydian asard what they were going through and what and what Beetlejuice was going through actually I love to see the vulnerability of Beetlejuice actually SC scared of this ex-wife it's so hilarious it's been said a zillion times but life is a mixture of all those things and all those emotions and you know and laughs laughter is just such a beautiful gift that we've been given to release us from Pain and sorrow and you know scary moments in our Liv so I think anybody Justin Theroux who wants to make a good story tries to get it all in there you're a figment of my imagination really is this figment of your imagination I think it's funny that in a movie with Beetle Juice and a soul sucking witch that your character uh Rory is the biggest straw man in the movie would you say that's a fair assessment I think it's a fair assessment yeah yeah he just like oozes red flags from the he is a ginormous red flag and it's shocking that uh Lydia did not catch on to it where there talks about like how how much to play it up in each scene because absolutely yeah me and Tim had like a multiple multiple conversations before we shot anything about like we wanted to be believable is he had to have a reason for existing in the film and then we just had to define the relationship and it's clearly a toxic terrible codependent relationship and the thing that sort of made us Giggle was sort of when we struck on the fact that he's just sort of in his own soap opera all the time you know like it's just everything's about him and it has the appearance of being like a caregiving guy but it's really it's the old uh what about you what do you think of me you know it's that kind of that's the sort of the angle that he comes in at what would you say are some of the pitfalls of a long span sequel that Beetlejuice Beetlejuice avoids I don't know what the the pitfalls of a long-standing sequel are a do people want it and most of the time people say yes they do want it until they have it then sometimes they say they don't want it you know and you're like all right well you said you wanted it but here we are this one I think is different because it for Tim it really feels like a return to a kind of film making he hadn't been able to do in a while which is very practical feels almost like borderline independent you know like it doesn't feel like a studio it is a studio movie obviously but it doesn't feel like it it feels has like this handmade quality to it which is sort of a return to the original you know so I don't know there's just something about this film that when I read the script I was like oh that makes sense and then when I saw the movie I was like oh this absolutely makes sense you know it feels like it's just big enough or bigger enough that it sort of ticks all those boxes but it takes some really wild turns that most a lot of Justin on David Lynch Studio movies don't get to take anymore or don't take I guess last year uh I came out with a book about um David Lynch's Dune there's this one scene in M Halland drive with you where you're the director and you're meeting with the mobster with the slick back hair that's Angelo and uh uh the espresso scen yeah where they they tell you you have to cast this girl and I'm like Angela looks just like Dino delarentis in this scene oh wild and and even Dino's brother is named Luigi which is that character's name oh W and um I was wondering when you were making that scene did you feel like this is you're kind of an avatar like an autobiographical element for David yes I did actually I had some awareness obviously around the making of Dune and and what a disappointing experience that was for him you know David not unlike Tim is a a singular Visionary director the wonderful thing about both those guys is that when you watch the the films that they make it feels like the shortest distance between their brain and the screen and that's very difficult to do I think whenever finances are involved um or expectations he gets very upset and is almost confused by it he's like why wouldn't you want me to do that thing you know why wouldn't you want me to you know I remember when we made mahol and drive there was a lot of downward pressure from ABC at the time and giving him notes like well you can't have smoking you know in the movie and then he they would he would say but people smoke why would I not have smok and then there was a shot of dog which he wanted to include and they had all these weird rules like you can't show dog on television and he would say why and and he I remember saying you know show me one person or kid or anybody who hasn't seen dog he was genuinely baffled by it you know and he'd say this is the thing that I'm trying to make so I think to to your point in that scene it was reflective of of the downward pressure that he would feel when money people or Studios or uh would try and interfere with what he was trying to do and in some ways I'm sure not not in a sort of photocopied way that the Adam character was sort of a faximile of some of his experiences in the in the commercial side of film making it was like a Meta Meta like matka doll thing of like I'm making a thing about the compromises I had to make and I'm making compromises well no but he didn't make compromises which is probably why it wasn't picked up as a television show he just didn't compromise same thing with Inland Empire when we made that we took that all around took it to Venice took it to whatever and everyone was like we love it it's amazing it's brilliant we'll buy it cut an hour out of it and he'd go no Monica Bellucci that's not the film you know like I've I've told you what the film is and this is it hope you like Italian where'd you go hey come on hey where'd you go I want to know as an Italian what's it like to be in this three minute black and white scene in the middle of the movie that's a just a solid tribute to like Italian Gothic horror and Mario Bava what was that like but there are many tributes in this movie about uh Italy and Italian Cinema uh because of course there are references to Mario Bava and also be chws have as moments where he speaks in Italian and also there is this moment where we hear ARA of Maria kalas even though she's not Italian but she became a superstar in Italy so we can feel that Tim really loves Italian movies and Italian Cinema is an inspiration for him of course you've been in Dracula Brotherhood of the Wolf brothers Grim are you attracted to kind of gothy roles yes uh because also I love comic books and uh so I like this dreamy kind of atmosphere and and uh I think the Tim knows how to create situations that are funny at the same time scary shocking unpredictable but at the same time also emotional and deep and then the character you play uh she's almost kind of a cross between Sally from Nightmare Before Christmas and uh vampyro from Edwood or course Pride Yeah Yeah Tim creates this creature I think she's more a creature instead of a monster but uh what I like about her there is a duality because she's scary but also funny and also even though she's dead she's full of life because she's looking for vengeance she's dangerous and there's some glamour over there and I have to say that we all have emotional scars and she has a scars all over she's like a metaphor of reality some way and uh in this scene where she puts her herself together you know it took two three days to film it and uh I felt a bit like mime I tried to move like a broken doll and I like also when you have the chance to give life to a Carter through your body because the body is your instrument as an actor the juice is loose