The people you speak with are so engaging, and so sincere. How well did you know them before you started shooting?
Clive Oppenheimer: I only knew Simon Schaffer, who is a historian of science in Cambridge.


The people you speak with are so engaging, and so sincere. How well did you know them before you started shooting?
Clive Oppenheimer: I only knew Simon Schaffer, who is a historian of science in Cambridge.

Were you the one who conceived of this tour in the first place?
Tim Seelig: We were coming out of the 40th anniversary of the gay men’s chorus. San Fransisco Gay Men’s Chorus birthed the movement.

What drew you to the role of Gladys?
Anjana Vasan: My agent sent me the script and said Thea Sharrock wants to meet you, have a read, and Olivia Colman’s attached and before she could finish saying Olivia Colman I went, yes!

Around 2004, you were doing research about curry during Queen Victoria’s time, and it seems you ended up finding much more than expected?
Shrabani Basu: I knew that that Queen Victoria loved her curry and she had so many Indian servants that cooked for her.

Can you describe your approach to adapting the novel, and to making the story so cinematic?
Sarah Polley: I think I always thought of the story as somewhat of an epic.

What inspired you with this film and why did you set it in the world of 1950’s London fashion?
Paul Thomas Anderson: I had a thin story for a romance about a man, woman, and maybe third party.

You were shooting in environmental conditions that were extremely difficult. Can you talk about those challenges?
Greengrass: The first day we shot in the lifeboat was really intense.

Can you talk about genesis of the film?
Kazuo Ishiguro: I can tell you about the origin story of this film, before the real work started. I can take credit for having the original idea, because it was kind of an obsession of mine for years. It was partly because I was a Japanese kid growing up in England and I was always very interested in any Japanese film that was shown in England.

This film has a different editorial pace and perspective than you usually portray in your films. Would you be able to talk about your approach with these older men in the film?
Martin Scorsese: This is not a film we could have created or made as effectively if we had tried to make it ten years ago.

This film is very inclusive and focused on women. Were you aiming to make a film about female empowerment? What was your concept about the story, initially?
I like the idea of making something that people can take away from it whatever they want.

The following questions and answers are excerpted from a conversation that followed the NBR screening of All the Beauty and the Bloodshed. You really weave so many stories together so beautifully in the film. How did you and Nan weave in and out of each other’s lives? Laura Poitras: Nan and I have intersected, sometimes literally […]

Can you talk about conceiving this story, and you’re writing process?
Noah Baumbach: It was inherent in the title that we are asking, “Does anyone really know what the story of a marriage is, and if that story has an end of sorts, does it mean it wasn’t a marriage?”

When you first read the script and found it to be based on a real event, what was your reaction?
John Boyega: I think I was just a bit shocked that I didn’t know about this specific event.

How did you get on this project? How did it come to you?
John Krasinski: So I was about to start pre-production on Jack Ryan, and some of the producers on Jack Ryan were Platinum Dunes, and they said, “Would you ever act in a genre movie?” And I said, “Oh no, I can’t do that, I don’t do horror movies.”

Can you talk about some of the sources of inspiration for this film?
Joey Kuhn: I’ll start with the emotional inspiration for the film: In college, I accidentally fell in love with my gay best friend, and was afraid to tell him for years.