There is a scene with an East Timorese woman, a non-actor named Senhorinha Gama Da Costa Lobo, that is completely amazing. Wagner, can you talk about that scene, and about casting that role?
Wagner Moura: I think that’s my favorite scene in the film. That was the most difficult casting we did.
What was your emotional reaction as a filmmaker while telling this story?
Part of the impetus for me in making a project is that I’m already emotionally affected by something.
You did almost all of the work on this film— what was that experience like?
Jessica Kingdon: I did have a close cinematographer, Nathan Truesdell, and we shot it together. But, yeah, it was very much a film that was coming out of my own mind.
How did this film get underway, and how did you decide to co-direct it?
How did this film get underway, and how did you decide to co-direct it?
Frank Marshall: One of the things that happens — as you get older — is that your friends also become experienced, and rise in their careers.
Emma, what was your inspiration for the film?
I feel like a lot of film students heading into their senior year want to go out with a bang, like a huge dystopian sci-fi film or a period piece, and I was one of those kids.
The opening shot of the ocean felt very lyrical. What made you decide to open your film with this particular shot?
Mike Mills: In the script, the first shot is of a car burning and of course that seems like such a good way to begin a movie.
Your DP said that his collaboration with you is one of the most unique he’s had with a director.
Edward Berger: We’re both obsessed with precision and architecture in the film. It’s not haphazard and we don’t try to find the shot on set. It gives me true pleasure to set up a shot and in that shot, have every department create the illusion that this is reality.
What was your approach to developing the look of the film?
Dominic Cook: The early ’60’s — especially in the UK — you might as well have been in the Edwardian era.
When did Ip Man first come into your life?
Kar Wai: In 1998, I had a chance to meet with the family of the Grandmaster Ip Man. And they showed me a short film of him – which you can find on YouTube now. His son recorded it just a few days before Ip Man passed away. And you can see that it’s almost like a home movie; he’s very sick and quite thin.
The following questions and answers are excerpted from a conversation that followed the NBR screening of The Miseducation of Cameron Post. How did this project start? Desiree Akhavan: I was sent the book and I loved it. I really loved it. I gave it to my girlfriend at the time, who read it and loved it. And, […]
There have been other stories about the cartels and the drug war. Why did you want to tell this particular story?
Denis Villeneuve: For me it’s not a movie about cartels. I don’t think anyone will learn new things about cartels from this film.
Just as in the last film, this one starts with an incredible burst of sound, accompanied by some text, that really grabs the audience and lets them know they are in for an incredible experience. Can you talk about that decision?
Denis Villeneuve: When making movies, you try to plan as much as possible in the screenwriting. Even so, there are elements that come to life as you’re shooting. And similarly, in post-production, sometimes unplanned things happen, too.
The following questions and answers are excerpted from a conversation that followed the NBR screening of The Way I See It. This film really seemed to hit at the perfect time. Can you talk about the genesis of the project? Jayme Lemons: My partner Laura Dern and I were big fans of Pete’s in general, having […]
How did the project begin?
David Petersen: So it began at a dog park, where all projects have to start!
Can you talk about the collaboration between the two of you in terms of writing, producing, and performing this?
Rafael Casal: Yeah, Diggs, can you?
Daveed Diggs: I mean we’ve been working on this for ten years at this point with our two producing partners the whole time, Jess and Keith Calder.