What was your experience like coming to this project?
Jason Segel: I had made a decision that I wanted to do something entirely different than what I had been doing.


What was your experience like coming to this project?
Jason Segel: I had made a decision that I wanted to do something entirely different than what I had been doing.

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.

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

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.

The following questions and answers are excerpted from a conversation that followed the NBR screening of The Mitchells vs the Machines. This film has been long in the making and is clearly a heartfelt project. Mike, can you tell us how it all started? Michael Rianda: Sony had approached me about making a movie and because […]

Did you find it helpful to engage with the previous iterations of the story when you were preparing for this film?
Nicholas Britell: Well, what was interesting, actually, was that when Benjamin first told me that he had this inspiration to to do Carmen, my first instinct was that I actually didn’t want to adapt or rearrange Bizet at all.

How did you guys come up with the idea for this project?
Max Barbakow: It was a hipster death bender movie.

How did that expansion work? How do you open up that short story?
Kogonada: I had the best experience a filmmaker can have with an author.

Sometimes as a documentarian, you don’t have total control. But it this film you were able to script things and envision scenarios.
Kirsten Johnson: Honestly I was trying to engage in not being in control.

At what point in the filmmaking process did you realize you were going to structure the movie as you did, shifting perspective from Eden to Victoria?
Gerard Bush: Well, first, since the movie was based on a nightmare that I had, and since that really is what the nightmare showed me, it felt important to both of us that we respect that source material!

Congratulations on this powerful and sensitive film. When did Alexandra Fuller’s book first come to your attention, and what made you want to adapt it and take on so many roles?
Embeth Davitz: I read the book when it came out in 2003, and it just stayed with me.