Q&A with Ruben Östlund

How did the idea of the script develop from the art piece of the square?
Ruben Östlund: The whole idea of the script developed in 2008. I don’t like to talk about it as an art piece but instead of as a humanistic traffic sign, actually.

Q&A with Oliver Hermanus, Kazuo Ishiguro, and Bill Nighy

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.

Q&A with John Cusack and Bill Pohlad

Can you discuss casting the two versions of Brian Wilson?
Bill Pohlad: Casting the Brian-future role was a little more complicated than the Brian-past, actually.

danny-boyle-q-and-a

Q&A with Director Danny Boyle and Producer Christian Colson

Director Danny Boyle established himself as one of the most versatile filmmakers in the world long ago, finding critical and commercial success with thematically disparate stories such as Trainspotting, 28 Days Later, and Slumdog Millionaire.

Q&A with Amma Asante and Gugu Mbatha-Raw

Can you each talk about your first impression of the painting that inspired this film?
Mbatha-Raw: I first saw a postcard reproduction of it that I bought in a gift shop.

Q&A with Austin Peters

Can you talk about the decision to set the film in 2013, and why that specific year was the right choice for this story?
Austin Peters: If you think about where we, as a country, were at in 2013… It was such a different time.