Kate, as a first-time director, you went out looking for a story. How did you discover these women and this story?
We took a wrong turn, found a woman and she said, if you want an amazing story, head east of Wall and you’ll find Tabatha. That’s what I did. And I met these two incredible women along with the rest of the teenagers on the ranch.
I’m curious about your collaboration process. Did you have a chance to rehearse, or was it more about trading ideas before filming?
Dylan O’Brien: It went on for a while, actually. For years we were getting passed on by financiers, so in the meantime we kept checking in, updating each other, commiserating.
What was it like working with Luca Guadagnino as a producer, and as a mentor? Did you ever have to defend your choices?
No, it was totally the opposite because as a director, he understood all my artistic needs. He protected me from anything that took away from artistic needs.
Sophie, let’s start with the genesis: how did this project begin?
Sophie Brooks: It really does feel like a miracle when an indie gets made. We almost made this movie in 2020 and thought, “this is easy,” but it ended up taking another four and a half years.
The following questions and answers are excerpted from a conversation that followed the NBR screening of Sorry, Baby. The film feels like you have a lot of trust in the audience to be patient, to wait for explanations, and to understand nuance. Was it that way during development?Eva Victor: Yes. I was honestly forced to be […]