Q&A with Theo Anthony

Can you talk about that decision, and how you thought about the various meta elements of the project?

Theo Anthony: That idea of accounting for the act of observation in observing is something that I’ve always been drawn to, as a big science nerd!

Q&A with Taika Waititi and Thomasin McKenzie

The author of the book had a great line about your films: “Laughs are never free. There are always strings attached.” Can you speak about the humor in this film and its fine calibration, especially in its opening sequences?
Taika Waititi: I always thought that humor and comedy are very powerful tools and effective weapons against bullies and bigotry.

Q&A with Stefan Forbes

The following questions and answers are excerpted from a conversation that followed the NBR screening of Hold Your Fire. The film took place in my old neighborhood—I lived a block and a half from where those events took place, right on the J line. It’s a major intersection, a very busy hub.  To me, this is […]

Q&A with Sean Mullin

When did you first start noticing a disconnect between Yogi Berra’s reputation and the player the stats showed him to be?
Sean Mullin: I think that’s what this was all about. When I started doing the research, I was like, wait, this guy was criminally overlooked.

Q&A with Saoirse Ronan and Greta Gerwig

One of the most priceless moments in the film is when Lady Bird escapes from the car. What was it like putting that scene together?
Greta Gerwig: That scene was such a monster on the page because there are so many emotions.

Q&A with Randall Park, Adrian Tomine, Justin H. Min, and Ally Maki

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.

Q&A with Ralph Ineson, Anya Taylor-Joy, Robert Eggers

There’s an incredible attention to detail throughout the film, from the dialog to the set decoration. Could you describe how you approached these aspects of the film?
Robert Eggers: New England was the most literate part of the Western World; you had to teach your children how to read– it was against the law if you didn’t, because you had to read the bible in English.

Q&A with Quentin Tarantino, Jennifer Jason Leigh, Walton Goggins, and Kurt Russell

The following questions and answers are excerpted from a conversation that followed the NBR screening of The Hateful Eight.  Where did the idea for this film come from? Quentin Tarantino: It started because while I didn’t really want to write a sequel to Django, I did like the idea of maybe a series of paperback books like […]

Q&A with Natalie Morales and Mark Duplass

You both had so many roles in making this film. How did you two connect to make this film during Covid?
Mark Duplass: Natalie and I were acquaintances; friends of friends who had met a few times and I think we had the sense that we respected each other’s work and we had hit it off and liked each other. I knew I wanted to work with her and ideally share the screen with her at some point, and we hadn’t really had that opportunity.

Q&A with Melissa Barrera, Nicholas Britell, and Benjamin Millepied

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.

Q&A with Lorene Scafaria

This film is very inclusive and focused on women. Were you aiming to make a film about female empowerment? What was your concept about the story, initially?
I like the idea of making something that people can take away from it whatever they want.

Q&A with Julie Goldman, Samantha Power, Greg Barker

What was the process like to bring this film together?
Julie Goldman: This is our sixth film together, so we have an established and unusual machine that works for our flow of producing.