"And this is Benny Safdie."

"We're the directors of 'Uncut Gems.'

We're jumping in here after a good stretch

of Howard's life.

But he was just abandoned and ditched

at a practice facility, so he's a little concerned

about his gem.

And he's here back with his family, his domicile,

basically, his pack.

And we're meeting him in the middle

of a status exchange with another Long Island family.

What greater setting to be than in a school play,

a mandatory attendance thing.

And you're here with people who I think identify

setting more than anything."

"O.K."

"What are you going to do for Passover?

Is your sister coming?"

"Uh, yeah."

"What are doing?

Who do you got?"

"Watching for LeBron.

I got six different people playing six different games."

"Hey, we're all making salt. Hey!

Who tapped me? Who was that?"

"I call this the head turning scene

because there's so many head turns back and forth,

back and forth, between each person,

like perspective switches."

"What's going on in Howard's life.

And this here, the narrative here, these two gentlemen

are a reminder of the bigger threat in Howard's life,

the money that he owes, and figuring out

a way to get into it.

Overt narrative plotting is always

something we feel so self-conscious about,

so having it come through a--"

"Where you going?"

"Daddy's got to--"

"--game in jest with his kid.

The way he bonds with everybody is through jest,

and the classic tap shoulder gag actually

leads him to the reminder of the things that

are lurking behind him."

"And it was on this scene, I remember

the AD was trying to have everybody be quiet,

and we got very upset, because we wanted everybody

to be talking.

In this scenario, everybody needed

to be loud, because it needed to reflect a real auditorium.

And of course, it causes problems

later on with editing, but the whole point

is to get the performances to be real."

"This action sequence, as we'll call it,

we shot at the end of a 14, 15-hour day.

And I kind of like that pressure,

because I believe that violence is sloppy.

It is unchoreographed.

It is matter-of-fact.

And that little sequence in the hallway we just saw

was that.

And here--"

"This too."

"This as well."

"One take, remember?"

"And his daughter-- that's probably

one of the most embarrassing things

that can happen to you.

Your psychotic, maniacal, loving weird dad

is running through--"

"I actually love watching certain parts

of the movie when you know it was the last thing you filmed

on a day.

Something that always-- that scene in the hallway

is one of those."

"This sequence, this exterior sequence

here, Darius spent a day or two lighting,

I think a day of pre-lighting.

And Eric Bogosian, who plays Arno, his brother-in-law,

this is his introduction to his character,

and to meet him in slow motion where you can't hear him,

I find it to be even more menacing."

"And Eric actually said-- because he had done

that drive a bunch of times.

The first time he pulled up, and he

saw Sandler run out of that school

wearing loafers, running on that grass,

getting tackled by these guys, he says, O.K.,

this is a different kind of movie.

I remember when we did that scene,

it was a very complicated choreography with a big cart,

and a camera.

And you kind of feel the pressure of everybody saying,

oh, I wonder how they're going to do this with non-actors,

all this stuff.

And on the first take, everybody just nailed it.

It was very exciting."