You said that your biggest talent was in the casting of the film.
Linklater: I think the movie speaks for itself in that way.


You said that your biggest talent was in the casting of the film.
Linklater: I think the movie speaks for itself in that way.

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.

You did almost all of the work on this film— what was that experience like?
Jessica Kingdon: I did have a close cinematographer, Nathan Truesdell, and we shot it together. But, yeah, it was very much a film that was coming out of my own mind.

Can you talk about how found this story and why it’s important to tell now?
Richard Linklater: I read Darryl Ponicsan’s book and just loved the characters twelve years ago.

Can you talk about the collaboration between the two of you in terms of writing, producing, and performing this?
Rafael Casal: Yeah, Diggs, can you?
Daveed Diggs: I mean we’ve been working on this for ten years at this point with our two producing partners the whole time, Jess and Keith Calder.

Your relationship with Akira Kurosawa dates back to the beginning of your career. Can you share how you first encountered Kurosawa’s work and what drew you to reimagine it?
Spike Lee: People always assume that this film is a remake of Kurosawa’s High and Low, but it actually began with Ed McBain’s novel King’s Ransom.

Anora is such an intense and ferocious character, but there’s an understated vulnerability. How did you weave that into the performance?
Mikey Madison: I always saw her as someone who was deeply vulnerable on the inside but is constantly protecting herself by covering it up with anger and spunk.
An intricate look into the spiritual and musically adept view of Takuya Nakamura, with first-hand access to emotionally moving and intimate performances, including one coupled with an invitation to experience from the comfort of his home.