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.
The following questions and answers are excerpted from a conversation that followed the NBR screening of Rebel Hearts. How did the project begin and how did you two come together? Shawnee Isaac Smith: I’ll start since it was twenty-one years ago when I met one of the Immaculate Heart sisters and was so inspired by their […]
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.
Can you talk about finding this character, before you brought him to the page?
Paul Schrader: These kinds of stories — I’ve done about a half-dozen of them, stretching all the way back to *Taxi Driver* — usually come about when there’s a metaphor.
Can you tell us about the origins of this film?
Paul Greengrass: I think the origins of it lie in the last film I made, actually, 22 July, which was a pretty tough film about violent right-wing extremism in Europe.
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.
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.
Can you discuss the way the film begins, and ends, with a family dinner scene?
Pascual Sisto: I think they are two very important scenes, but I will first say that, as a point of interest, they were shot on the same day because of practical reasons.
How did you get involved with this project?
I came to this book as a casual reader. I got it from the same bookstore you see James [Franco] signing books in at the start of the movie.
How did you two work together on the big dramatic scenes?
Those scenes were difficult, they’re really emotional.