It felt like there were unexpected and interesting story turns at every corner. What sparked this idea for you?
Wyatt Rockefeller: The spark for the idea came, really, from a feeling. I was in the woods with my Dad, and it was snowing.

It felt like there were unexpected and interesting story turns at every corner. What sparked this idea for you?
Wyatt Rockefeller: The spark for the idea came, really, from a feeling. I was in the woods with my Dad, and it was snowing.

This is something of a personal story, correct?
Ari Aster: The beautiful thing about genre filmmaking and the horror genre in general is that you can take a personal story or feeling that you need to work through and push it through this filter

Can you talk about working with your cast?
You have to have great actors. You have to cast great people to get great performances.

What drew you to this material and inspired you to direct the film?
Sian Heder: I came to this because it was originally a studio film, and Lionsgate was looking to do a remake of La famille Bélier, a French film that came out in 2014.

you take us to the beginning of this process, when you had bits and fragments of the story?
Shia LaBeouf: I was in an emotional rehab facility. It was court ordered that I go to a mental institution in Connecticut.

What was it like bringing a production of this size to Thailand?
Ron Howard: That was the big question I was asking of myself, going into the movie. I knew there was a genuine hurdle there.

What did your writing process entail?
It kind of had the whiff of destiny, from the time I read the book.

Can you talk about the research that you did, and about the consultants that you brought in to make sure you got it right? I was so impressed with how authentic this story was.
Reinaldo Marcus Green: So, I’ll start with the consultants. We had a gentleman by the name of Neville Garrick, who we represent in the film. He had done the album art work, and he also did the lighting for all of the shows.

Randall, what gripped you about this story and these characters?
Randall Park: I first read the graphic novel when it came out back in 2007, and I was just mesmerized by it. A lot of that has to do with Adrian’s writing, but also the style of the art.

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.

Can you talk about finding this character, before you brought him to the page?
Paul Schrader: These kinds of stories — I’ve done about a half-dozen of them, stretching all the way back to *Taxi Driver* — usually come about when there’s a metaphor.

How did you get involved with this project?
I came to this book as a casual reader. I got it from the same bookstore you see James [Franco] signing books in at the start of the movie.

How did you two work together on the big dramatic scenes?
Those scenes were difficult, they’re really emotional.

How did you develop the wonderful physicality of Greta’s character Brooke? She emotes with her entire body.
Well first, Greta was born. And grew up into that person.

The film is visually stunning. Can you talk about your approach, and how you worked with your collaborators?
Nicole Riegel: I knew the color palette I wanted to use before I began collaborating with my production designer and cinematographer.