The following questions and answers are excerpted from a conversation that followed the NBR screening of The Paper Tigers. This film is a heartfelt look at the Kung Fu genre as well as a story about growing up and fatherhood in various forms. What was the catalyst for the story? Bao Tran: I survived a death […]
We spent three years filming, and we went to twenty five countries with Quincy.
The following questions and answers are excerpted from a conversation that followed the NBR screening of The Hateful Eight. Where did the idea for this film come from? Quentin Tarantino: It started because while I didn’t really want to write a sequel to Django, I did like the idea of maybe a series of paperback books like […]
The locations are incredible. How did you find them?
Potsy Ponciroli: This film was really created out of the location.
In a narrative film, a character might have some piece of wardrobe or a prop that helps them inform the character. How did you work together to develop the voice of Snake?
Marc Maron: When we first got there, they showed me the sketches for the character but I think they were still trying to figure out how to get him to move.
What inspired you with this film and why did you set it in the world of 1950’s London fashion?
Paul Thomas Anderson: I had a thin story for a romance about a man, woman, and maybe third party.
What was it like, collaborating with director Christian Petzold for a third time?
Paula Beer: Well, working with Christian is just fun. And his way of working is different from everything I’ve experienced so far.
In Compliance, you were the sadist, the controller. There are very similar themes here but in this case you’re on the other side.
It’s kind of interesting. In Great World of Sound, I almost play a version of the Ann Dowd character from Compliance.
Katie, you’ve taken a script that had been around for several years and made it feel brand new. That must be a huge challenge — what was your approach?
Katie Silberman: We talked a lot about what made us love the classic high school movies
Can you talk about genesis of the film?
Kazuo Ishiguro: I can tell you about the origin story of this film, before the real work started. I can take credit for having the original idea, because it was kind of an obsession of mine for years. It was partly because I was a Japanese kid growing up in England and I was always very interested in any Japanese film that was shown in England.
What was your experience working with the author of the memoir on which the film is based?
Oliver Hermanus: The first thing I did, when I was certain I would tackle it, was I met with [author Andre Carl van der Merwe] a few times.
How did you develop the wonderful physicality of Greta’s character Brooke? She emotes with her entire body.
Well first, Greta was born. And grew up into that person.
Films like this are so clearly made with love and rely on character. What inspired you to tell this story in the form of a feature film?
Nikole Beckwith: In terms of what inspired the story, it was just curiosity.
You both had so many roles in making this film. How did you two connect to make this film during Covid?
Mark Duplass: Natalie and I were acquaintances; friends of friends who had met a few times and I think we had the sense that we respected each other’s work and we had hit it off and liked each other. I knew I wanted to work with her and ideally share the screen with her at some point, and we hadn’t really had that opportunity.
The letter’s from a five year old boy and it says, “Dear Mr. Rogers, are you for real? Are you for real or not?”