Ten minutes with Denis Villeneuve

This story originally appeared in URBANIA, an online magazine based in Quebec focused on pop culture and society, on March 10, 2024. Readers should note that while the director talks about taking a break after his blockbuster success with Dune, it has been revealed that he will direct the next James Bond film.

Denis Villeneuve has had a big week.

Two and a half years after the colossal success of his Dune adaptation, the Quebecois director was in town to present the grand premiere of its highly anticipated (and very successful) sequel. Even though he may be the most in-demand person in Hollywood these days, he carved out (with the help of a few helpful intermediaries) a mere ten minutes in his schedule to answer my questions about the creation of what might well be his best film yet.

For me, Denis Villeneuve is a kind of unicorn, a character I no longer believed in in the current Hollywood ecosystem: a director capable of telling a story with ambition and originality without ever losing sight of the sensibilities of the average Joe. He's an artist who introduces new ways of storytelling to large audiences and who is evolving his medium. In short, I was very eager to speak to him.

We talked about his film, working with Timothée Chalamet and Zendaya on a daily basis, his desire to tell stories differently, and more.

Making sequels and reopening intellectual properties to create more content has become something of an extreme sport in Hollywood. Many have failed at it, but Dune: Part 2 is an excellent sequel. What's the secret?

In my case, the advantage I had was that the most important events of the book were still to come. It wasn't a true sequel, but rather a continuation of the first film. Everything was already there; I had the material necessary to make a film.

I also learned a lot from the first experience, and I was aggressively determined not to repeat the same mistakes. It was the first time I revisited a universe with full knowledge of the facts. I knew where I was going to return. It was a privilege.

What were these mistakes you are referring to?

It would take too long to explain, but I found that there were some pitfalls in terms of the script. Especially in terms of pacing and effectiveness.

Dune: Part II is a vast film, but it shines in its intimate moments. When writing the screenplay, how were these choices made? What were the thematic priorities?

The "huge" part is pretty easy. The problem is really preserving the intimate side of the story. In the case of Dune: Part II, it was important that I make sure that was at the heart of the story, because the whole drama of the film unfolds through the relationship between (Timothée Chalamet and Zendaya's characters) Paul and Chani.

This was very important because Chani would gradually bring a new perspective to Paul. It was Chani who made sure that he wasn't seen as a heroic figure, but rather as an antihero.

I wanted to be faithful to Frank Herbert's intentions, who wanted Dune to be a warning. An exploration of the dangers associated with messianic figures.

I used Chani for this. It's less faithful to the novel, but it's much closer to Frank Herbert's initial idea. The heart of the film is this intimacy. That was my main concern.

Everything else is just big toys. It's technically complicated to bring to the screen; it takes time and resources, but it wasn't difficult for me to make sure we grasped the issues related to the large-scale scenes.

Timothée Chalamet and Zendaya really reached another level as actors in the film. In interviews, the respect the entire cast has for you is palpable. How do you get icons like that to elevate their game?

Before being icons, they are first and foremost great actors. Two actors with immense raw talent, the likes of which we rarely see in a generation. They are not driven by ego. I have a very simple relationship with them.

I try to create a safe zone around the camera where the actors feel they can evolve and take risks. A safe zone, one of pure creation, as is the case on the set of an independent film.

I often hear this from actors who have worked with me, that they feel like they are on the set of an indie film, not a blockbuster. That they are free to focus on their inner world.

The cast also talked a lot about this relationship of trust and experimentation. Could you give one or two examples of these settings where you allowed yourself to experiment?

There's no room for improvisation in a film like Dune: Part II . It's more in the nuances and details of the performance that I'm always open to suggestions when I'm working with actors I respect, who challenge me. They often have strong intuition and good ideas.

It's true that we were working on an extremely well-prepared and calculated film, but we still try to bring the chaos of life into their acting. I try to leave that space open so that my actors feel they have the freedom to explore.

What kind of relationship do you develop with such talented people on a long-term project? For example, what did you learn about Timothée Chalamet over the course of filming?

(he takes a moment to think)

That's a good question. We spent several months together.

I learned that he was someone who had a strength that wasn't driven by his ego. He's the star of the film, but he nevertheless established a sense of collegiality around himself with his peers.

For example, he welcomed Austin Butler wonderfully. There could have been a rivalry between them. A tension. But he really established a friendly atmosphere with him. With Florence Pugh, it already existed. Same thing with Zendaya. I felt that Timothée wanted to be with them, and not in competition. That's very noticeable in the promotion of the film, I think. They have the energy of a music group.

It's admirable how much space Timothée can give his peers, even though he's the star of the film. He brought a lightness to the set. A beautiful spirit.

And what about Zendaya?

She's a young woman with absolutely incredible discipline. She's also extremely curious, always wanting to learn more about her craft. I wouldn't be surprised at all if she took up directing one day.

She was always over my shoulder or cinematographer Greig Fraser's. It's a joy to be around someone with such a great thirst for knowledge.

You've also often said that you trust the audience. This is usually one of my biggest criticisms of blockbusters, but I didn't get it here. Why is it so important for you to trust the audience for a project like this?

Because it allows me to go further (laughs). To take risks and make films that try to explore new territories. I'm not saying I'm successful, but I'm trying, anyway.

That's why I trust people to follow the story, even if I use different codes, don't necessarily use all the parameters of the genre, and don't stick to the rules.

I often break them to challenge preconceived notions about cinematic storytelling. I play with the codes and hope people will follow, for better or for worse.

Finally, what is your best memory of filming this second Dune film ?

My collaboration with Tanya Lapointe on set. It was a very moving experience for me, to share cinema with the woman I love. To create with her.

She made both movies?

She is a producer on both films, but she also worked as second unit director on the second film. It was like having an extension of myself, who understood my vision perfectly and was there to help me achieve what I wanted to bring to the screen. I had never experienced such creative complicity before, and to experience it with the person I share my life with was an incredible experience.

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