Q&A with Ted Braun

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.

Q&A with Pete Doctor, Kemp Powers, and Dana Murray

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

Q&A with Michael Sarnoski and Vanessa Block

Do you think Nicolas Cage’s casting creates an expectation with the film? And if so, did you intentionally subvert those expectations in any way?
I think it does create an expectation. Certainly, people have certain types of films that they associate with Nic Cage. But we never set out to subvert anything

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 Matt Ross and Viggo Mortensen

There was such incredible chemistry amongst the cast. How did you build that? What was the rehearsal process?
Viggo Mortensen: Early on, which was great and doesn’t always happen, Matt brought me into read with the last couple of kids we were casting.

Q&A with John Cusack and Bill Pohlad

Can you discuss casting the two versions of Brian Wilson?
Bill Pohlad: Casting the Brian-future role was a little more complicated than the Brian-past, actually.

Q&A with Frank Marshall

How did this film get underway, and how did you decide to co-direct it?

How did this film get underway, and how did you decide to co-direct it?

Frank Marshall: One of the things that happens — as you get older — is that your friends also become experienced, and rise in their careers.

Q&A with Emma Seligman and Rachel Sennott

Emma, what was your inspiration for the film?
I feel like a lot of film students heading into their senior year want to go out with a bang, like a huge dystopian sci-fi film or a period piece, and I was one of those kids.

Q&A with Edward Berger

Your DP said that his collaboration with you is one of the most unique he’s had with a director.
Edward Berger: We’re both obsessed with precision and architecture in the film. It’s not haphazard and we don’t try to find the shot on set. It gives me true pleasure to set up a shot and in that shot, have every department create the illusion that this is reality.

Q&A with Edgar Wright

How did you translate the stage direction into the performance?
Edgar Wright: When I gave the script to the actors, they had all of the music as well, so they could read the script with the right music playing.

Q&A with Daveed Diggs and Rafael Casal

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.