The people you speak with are so engaging, and so sincere. How well did you know them before you started shooting?
Clive Oppenheimer: I only knew Simon Schaffer, who is a historian of science in Cambridge.


The people you speak with are so engaging, and so sincere. How well did you know them before you started shooting?
Clive Oppenheimer: I only knew Simon Schaffer, who is a historian of science in Cambridge.

Can you describe your approach to adapting the novel, and to making the story so cinematic?
Sarah Polley: I think I always thought of the story as somewhat of an epic.

Sacha, the original Borat was a tremendous success. Why did it take so long to make a sequel?
Sacha Baron Cohen: Well, we just assumed it was impossible to make.

What inspired you with this film and why did you set it in the world of 1950’s London fashion?
Paul Thomas Anderson: I had a thin story for a romance about a man, woman, and maybe third party.

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

What was your experience working with the author of the memoir on which the film is based?
Oliver Hermanus: The first thing I did, when I was certain I would tackle it, was I met with [author Andre Carl van der Merwe] a few times.

Mr. Turner seems to use a wonderful shorthand of grunting in the film at times to communicate his point.
He did grunt, but – and we also have this in the film – he was capable of great articulacy and a great number of classical references.

The following questions and answers are excerpted from a conversation that followed the NBR screening of Florence Foster Jenkins. The opening scene is really beautiful, and frames the story so well. Can you discuss how that was conceived? Meryl Streep: Well, it’s interesting that you mention that scene, because the script that we both received […]

How did you two come to work on this project together?
We started working on what we thought would be a triptych, looking at sex, birth, and death on screen from a women’s perspective. We started the one about sex and it was an avalanche of ideas and people and different actors that we wanted to speak with, and that’s really where it began.

What was it like developing the script with your cousin Jessica Barr after she had written the first draft?
Jessie Barr: We did a lot of talking and a lot of sharing; there were intimate conversations about what we’d gone through when we lost our parents.

Can you tell us about the evolution of this film?
Jayro Bustamante: Well, you know, at the beginning we were thinking about making a triptych, and that that triptych would be about three insults that are common in Guatemala.

How did this project start, and how did you come to the story?
Hanna Bergholm: It started when the screenwriter Ilja Rautsi contacted me, and he told me he had this one sentence idea in his head: A boy hatches an evil doppelgänger out of an egg.

The following questions and answers are excerpted from a conversation that followed the NBR screening of Bodies Bodies Bodies. How did your experience in the industry as an actress influence your approach to this film? Halina Reijn: Yeah, I used to be an actress, mostly on stage. I was in a theater company and lived in […]

How did the idea for script originate?
Emerald Fennell: I had a few friends over for dinner and something uncomfortable had happened to one of the girls at the table on the tube on her way over.

The opening shot of the ocean felt very lyrical. What made you decide to open your film with this particular shot?
Mike Mills: In the script, the first shot is of a car burning and of course that seems like such a good way to begin a movie.