Why did you decide to shoot this film in black and white?
Alexander Payne: You know, it wasn’t ever really a decision—it just felt right. It had to be in black and white.
Features: Q&A
November 8, 2013
The Armstrong Lie – Q&A with Alex Gibney, Betsy Andreu, and Jonathan Vaughters
by The National Board of Review
What was involved in the production of making such a visually and sonically rich film?
At the Tour de France we had a full ten cameras, and we were able to put a camera inside the car, sometimes two, and then at every stop along the way we had three cameras in every car.
October 25, 2013
Blue is the Warmest Color – Q&A with Abdellatif Kechiche and Adèle Exarchopoulos
by The National Board of Review
The film is freely adapted from a graphic novel. How did you approach the adaptation?
Kechiche: I came upon the comic book by chance and I was seduced by the drawings.
October 18, 2013
All is Lost – Q&A with J.C. Chandor and Robert Redford
by The National Board of Review
Why did you want to be in this film?
Redford: Because he asked me! In all honesty, I’ve spent many years building an organization to promote independent film, and yet no one has asked me to work in their film.
October 15, 2013
Captain Phillips – Q&A with Paul Greengrass, Tom Hanks, and Barkhad Abdi
by The National Board of Review
You were shooting in environmental conditions that were extremely difficult. Can you talk about those challenges?
Greengrass: The first day we shot in the lifeboat was really intense.