Can you talk about the origins of this project?
Tony Kushner: Steven told me the story that’s the core of the movie on the first day of filming Munich, in 2005, in Malta.


Can you talk about the origins of this project?
Tony Kushner: Steven told me the story that’s the core of the movie on the first day of filming Munich, in 2005, in Malta.

It is obvious from the first frame that a tremendous amount of work went into this film, even by the high standards of feature animation. Can you discuss the seven year process?
Tomm Moore: The story development went hand in hand with the art development.

What drew you to the role of Gladys?
Anjana Vasan: My agent sent me the script and said Thea Sharrock wants to meet you, have a read, and Olivia Colman’s attached and before she could finish saying Olivia Colman I went, yes!

Stephen, you’re no stranger to bringing musicals to the big screen, and you’re no stranger to stories about teenage longing and discontent. How did you get involved in the project?
Stephen Chbosky: I saw the show about three years ago, on Broadway. And I loved it. I didn’t know anything about it when I saw it. And I loved the show.

How did your filmmaking process begin?
Stephen Basilone: When I started my career, I had a writing partner for a very long time and we started off writing features.

Can you talk about making the transition from athletics to a visual and creative artist?
Savanah Leaf: In a way, I think a film is this combination of working in a team environment.

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.

What did your writing process entail?
It kind of had the whiff of destiny, from the time I read the book.

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.

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 […]

Can you talk about finding this character, before you brought him to the page?
Paul Schrader: These kinds of stories — I’ve done about a half-dozen of them, stretching all the way back to *Taxi Driver* — usually come about when there’s a metaphor.

Katie, you’ve taken a script that had been around for several years and made it feel brand new. That must be a huge challenge — what was your approach?
Katie Silberman: We talked a lot about what made us love the classic high school movies

Mr. Weitz, did you write this role for Ms. Tomlin knowing she’d play the part?
Paul Weitz: Yes, I— well, no, I didn’t know she’d play the part!

Can you talk about conceiving this story, and you’re writing process?
Noah Baumbach: It was inherent in the title that we are asking, “Does anyone really know what the story of a marriage is, and if that story has an end of sorts, does it mean it wasn’t a marriage?”

The following questions and answers are excerpted from a conversation that followed the NBR screening of I Used to Go Here. What was the inspiration for the film? Kris Rey: I found the inspiration for the movie when I was on tour with my last film [Unexpected] four years ago. I got invited to a bunch […]