Can you talk about the origins of this project?
Tony Kushner: Steven told me the story that’s the core of the movie on the first day of filming Munich, in 2005, in Malta.


Can you talk about the origins of this project?
Tony Kushner: Steven told me the story that’s the core of the movie on the first day of filming Munich, in 2005, in Malta.

Stephen, you’re no stranger to bringing musicals to the big screen, and you’re no stranger to stories about teenage longing and discontent. How did you get involved in the project?
Stephen Chbosky: I saw the show about three years ago, on Broadway. And I loved it. I didn’t know anything about it when I saw it. And I loved the show.

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.

Can you talk about the design of the film and how it’s another evolution for Pixar both in the extremes in realism and surrealism that it achieves?
One of the big joys for me in working in this business is to embrace stuff that is perfect for animation

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.

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

Michael, how did the script find its way to you?
It came to me through Arlie [Day], our producer and casting director. What I like to think she saw it in for me was that the great subject of the film was empathy. It’s about how to look at other people’s lives and experiences uncolored by any sense of judgment.

How did you get from First Cow to this story?
Kelly Reichardt: Well, both films were written with Jonathan Raymond and we started out with this idea of making a film of this little-known Canadian painter, Emily Carr. We wanted to focus on a ten-year period of her life when she was a landlord.

The following questions and answers are excerpted from a conversation that followed the NBR screening of Flee. How long have you known Amin? What was it like to hear the truth about his background? Jonas Poher Rasmussen: I’ve known him for twenty-five years. I grew up in this very small village in Denmark, with like 400 […]

The following questions and answers are excerpted from a conversation that followed the NBR screening of The Guilty. There are many constraints built into this film… you’re in a call center, on the phone, there’s limited space to move. What drew you to that? Jake Gyllenhaal: I guess I’m a fan of creating a certain type […]

Why did you want to be in this film?
Redford: Because he asked me! In all honesty, I’ve spent many years building an organization to promote independent film, and yet no one has asked me to work in their film.

You are such a quintessential New York Filmmaker, Mr. Sachs, but now you’ve made this film set in Portugal. I was wondering how the story came to you and how you worked with your writing partner, Mauricio Zacharia, to develop this film?
Ira Sachs: Probably around fifteen years ago, I saw a film by Satyajit Ray, the Indian master Filmmaker, called Kanchenjungha. It’s about a family on a vacation in the Himalayan mountains, and it takes place in one day.

Baz, I read that you were not setting out to make a biopic. Tell us a bit about that approach and how that informed the film we saw today?
I love a good biopic as much as anyone, but they tend to be formulaic… someone is born, then this happens, then that happens

Can you talk about the evolution of Caesar’s character from Rise of the Planet of the Apes to this film?
The approach to the role for me has always been to think of Caesar as having a human mind within an ape’s body.

When Alfonso brought you the project what was your initial reaction?
David Heyman: It’s a privilege working with Alfonso. You know you’re going to be part of something that is extraordinary.