What was your original artistic challenge when you were approached with this project? A profile of one person is quite different than your previous work.
Ted Braun: The previous films I’ve done, feature documentaries I’ve done (Betting on Zero, which looked at allegations of global economic criminality, and Darfur Now, which looked at allegations of massive, systemic violent crimes in Sudan) were, in different ways, ensemble stories about people trying to expose wrongdoing.
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.
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 coming across this book and deciding to make it into a film?
Daniel Minahan: My producer Peter Spears and I were looking for material to make a feature together and I knew that I wanted to make a love story. We were passing books back and forth and Shannon Pufahl’s novel came to both of us at the same time, coincidentally. I started reading it and I was about halfway through when I realized that I felt really excited by this story.
Congratulations on this incredible film. I want to start with your producer credit. What does that role mean to you?
Celine Song: Being a producer can mean a lot of things. Sometimes it’s financial, but for me, it meant being in the creative trenches—casting, budgeting, locations, all of it.
Albrecht, you said rehearsal was the most challenging of your career. Why?
Albrecht Schuch: It was, without question, the hardest preparation I’ve ever faced. At first, I couldn’t find the center of the character. He felt like someone without emotions, almost as if he were absent from his own life.