How did you decide what to include and how to show how the puzzle pieces fit together?
That was the main question in the beginning, because it is so overwhelming. It’s likely there are at least 500 survivors of Nassar alone.
Search Results for: The Straight Story
August 2015
Q&A with Barry Crimmins and Bobcat Goldthwait
How did this film develop?
Barry had written an article for the Boston Phoenix about his experience testifying in front of the Senate Judiciary Committee. It’s just so funny and well written… it reminded me of a Frank Capra story.
September 2021
Q&A with Andreas Koefoed
get involved?
Andreas Koefoed: A producer friend of mine got in touch and told me about this incredible story. He was in touch with this British art critic—Ben Lewis—that was writing a book about the whole affair.
August 2024
Q&A with Rich Peppiatt, Móglaí Bap, Mo Chara, and DJ Próvaí
The tone that you set from the very beginning lets the audience know that they’re going to see something that’s serious, but you’re not going to weigh them down with it, and I appreciate that so much about this film.
Rich Peppiatt: Yeah, that was something that was important to us, to make sure it was entertaining. And there’s been so many films about Belfast which can stray sometimes into a turgidly serious tone.
July 2026
Q&A with Olivia Wilde and Edward Norton
It’s so unusual these days to have a comedy made by adults, for adults, in theaters! Tell us about when you first encountered the script, and how the movie evolved.
Olivia Wilde: It’s Sentimental in Spain, released here as The People Upstairs, and it’s based on a play written and directed by the same person.
March 2026
Q&A with Maggie Gyllenhaal
That dance number was incredible! What was it like to direct a big dance number?
Maggie Gyllenhaal: That dance number was a very specific tightrope walk. The way we shot it and the way we choreographed it took a lot of care, forethought, and then a lot of work.
July 2024
Q&A with Kevin Costner, Luke Wilson, Sam Worthington, Jena Malone and Ella Hunt
What draws you back to these Western stories? What is it like when you develop a project over the course of many years, as you’ve done here?
Kevin Costner: I think it’s the idea that it’s not a part of Disneyland: it was part of our history.
May 2024
Q&A with Jane Shoenbrun and Brigette Lundy-Paine
Speaking of actually having a greater scale and a greater budget, what was the coolest special effect that you got to deploy in this film?
JS: I mean, I loved making the monsters. From the very beginning, I remember thinking, for the next film? Let’s go monsters.