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.
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.
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.
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.
When Alfonso brought you the project what was your initial reaction?
David Heyman: It’s a privilege working with Alfonso. You know you’re going to be part of something that is extraordinary.