| 12_12_12 ( @ 2007-08-08 19:30:00 |
|
|
|||
|
|
|
|
|
|
|
Costume Designer: [Milo] has such an incredible body that, you know, I try to show his arms and his body whenever we can...
...he sort of evolved from this boyish character to evolving, certainly in that scene where he's kissing Simone, it's like the boy has suddenly become a man, and sort of, in your mind, becomes another character. (she says all this with a huge grin on her face.)
Sendhil: The scenes that they do with their mother, you believe that they're a family, because it's real. Listen, all families do not get along, and this one *certainly* does not get along. It's at times hilarious and cringe-worthy to watch the interaction between this family, who are *so* dysfunctional, on so many levels, that it's compulsive watching.
Kring: I thought...at the center of this story was this idea of these two brothers. The idea of one that was the "lost child," the one who is the dreamer, who can't seem to figure out what he wants to do with his life...the other was the overachieving older brother. He was the Golden Boy of the family, in a family that had secrets to begin with.
Sendhil: Basically that entire scene became about me not blinking.