Sacha, the original Borat was a tremendous success. Why did it take so long to make a sequel?
Sacha Baron Cohen: Well, we just assumed it was impossible to make.
Search Results for: Come See Me in the Good Light
September 2022
Q&A with Ron Howard and Raymond Phathanavirangoon
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.
March 2021
Q&A with Pete Doctor, Kemp Powers, and Dana Murray
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
June 2016
Q&A with Pamela Romanowsky
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.
October 2015
Q&A with Michael Fassbender, Jeff Daniels, Danny Boyle, Aaron Sorkin, and Kate Winslet
How did you develop this story?
Aaron Sorkin: I like claustrophobic spaces and compressed periods of time, especially when there’s a ticking clock. I like being behind the scenes, in this case literally behind the scenes.
October 2019
Q&A with Martin Scorsese, Robert De Niro, and Al Pacino
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.
November 2019
Q&A with Laura Dern, Adam Driver, and Noah Baumbach
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?”
August 2022
Q&A with John Patton Ford, Aubrey Plaza, and Theo Rossi
Can you talk about how the idea for the film came about? I read it was somewhat autobiographical.
That sounds weird off the bat. I have not committed fraud.
April 2018
Q&A with John Krasinski
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.”
October 2018
Q&A with John C. Reilly, Jacques Audiard, Thomas Bidegain, and Alison Dickey
As a producer on the film, can you talk about the struggles of shooting abroad?
JR: Turns out you can’t just march into Yosemite with some horses and light some fires. It’s a lot tougher to shoot in some of the places we were looking for.
August 2018
Q&A with Glenn Close, Jonathan Pryce, Annie Starke, and Björn Runge
Why did such a good script take so long to come to the screen?
Glenn Close: Have you heard of something called the “#Metoo” movement?
May 2018
Q&A with Ethan Hawke and Paul Schrader
What was the genesis of this film?
Paul Schrader: The process began about three years ago when I was giving an award for Pawel Pawlikowski, for his film Ida at the New York Society of Film Critics.
April 2021
Q&A with Emma Seligman and Rachel Sennott
Emma, what was your inspiration for the film?
I feel like a lot of film students heading into their senior year want to go out with a bang, like a huge dystopian sci-fi film or a period piece, and I was one of those kids.
March 2023
Q&A with Edward Berger
Your DP said that his collaboration with you is one of the most unique he’s had with a director.
Edward Berger: We’re both obsessed with precision and architecture in the film. It’s not haphazard and we don’t try to find the shot on set. It gives me true pleasure to set up a shot and in that shot, have every department create the illusion that this is reality.
June 2022
Q&A with Daniel Geller, Dayna Goldfine, Alan Light, and Sharon Robinson
Can you discuss the archival material you have in this film? It’s incredibly comprehensive.
Daniel Geller: One of the things, I think, that came later in the process…Leonard began to understand what Dayna and I were trying to do with the movie.