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
Your films feel so naturalistic— as though you just took your crew to a location and filmed what was going on there. But the reality is quite different, isn’t it?
Chloé Zhao: Well, the trick is to make the audience feel like we just showed up.
What was your emotional reaction as a filmmaker while telling this story?
Part of the impetus for me in making a project is that I’m already emotionally affected by something.
Can you tell us about the origins of this film?
Paul Greengrass: I think the origins of it lie in the last film I made, actually, 22 July, which was a pretty tough film about violent right-wing extremism in Europe.
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.