Q&A with Josephine Decker and Elisabeth Moss

Josephine, can you speak a bit about that rehearsal process?
When I was going into it, I thought we needed three weeks of rehearsal. Of course, we had like a day and a half!

Q&A with Eskil Vogt

This is a very adult film about children and childhood. What were your inspirations for the story?
Eskil Vogt: I think I never would have made this movie if I hadn’t become a parent.

Q&A with Emerald Fennell and Carey Mulligan

How did the idea for script originate?
Emerald Fennell: I had a few friends over for dinner and something uncomfortable had happened to one of the girls at the table on the tube on her way over.

Q&A with Don Cheadle and Emayatzy Corinealdi

This is not a typical biopic in that you mainly focus on the darkest period of his life. Why did you choose that window?
Don Cheadle: He just shut down his music for five years. I thought, what’s happening there?

Q&A with Brett Morgen

This film was created with something of a new genre in mind: the “IMAX music experience.” Can you talk about that decision?
Brett Morgen: I have been doing biographical documentaries for the past twenty years. And when I finished Montage of Heck, I just… kind of feel like, for music documentaries… I love these speakers [gesturing around the theater]. I don’t think facts need to be delivered through these speakers!