How did you two come to work on this project together?
We started working on what we thought would be a triptych, looking at sex, birth, and death on screen from a women’s perspective. We started the one about sex and it was an avalanche of ideas and people and different actors that we wanted to speak with, and that’s really where it began.
The following questions and answers are excerpted from a conversation that followed the NBR screening of I Used to Go Here. What was the inspiration for the film? Kris Rey: I found the inspiration for the movie when I was on tour with my last film [Unexpected] four years ago. I got invited to a bunch […]
How did that expansion work? How do you open up that short story?
Kogonada: I had the best experience a filmmaker can have with an author.
Can you talk about playing someone who is emotionally disconnected or doesn’t show emotion?
Casey Affleck: I don’t often think myself about how much emotion I’m showing in real life.
How did you get from First Cow to this story?
Kelly Reichardt: Well, both films were written with Jonathan Raymond and we started out with this idea of making a film of this little-known Canadian painter, Emily Carr. We wanted to focus on a ten-year period of her life when she was a landlord.
This is a somewhat personal film for you— and it’s your first feature. Can you discuss how you came to make this film?
Kathryn Ferguson: I grew up in Northern Ireland. My father, actually, was a huge fan of Sinéad’s in the late ’80’s, when The Lion and The Cobra came out
When you first read the script and found it to be based on a real event, what was your reaction?
John Boyega: I think I was just a bit shocked that I didn’t know about this specific event.
What attracted you to this project?
Kate Winslet: When I first read the script, I was really taken by the physical demands.
Would you have made the film any other way, looking back?
Having been in this industry for a long time, trying to get movies made is very challenging under any circumstances.
What was the process like to bring this film together?
Julie Goldman: This is our sixth film together, so we have an established and unusual machine that works for our flow of producing.
What was it like adapting your book into your first screenplay?
Brian Selznick: I started writing the screenplay secretly at night when I was illustrating and writing another book.
What was your relationship with Anthony Weiner before starting to work on this film?
Josh Kriegman: I actually met Anthony while working for him in politics. I was his chief of staff for a couple of years while he was in Congress.
Josephine, can you speak a bit about that rehearsal process?
When I was going into it, I thought we needed three weeks of rehearsal. Of course, we had like a day and a half!
How did you develop the particular visual language of this film?
It was really challenging. There were things that we felt were important early on that ended up boxing us in.
The following questions and answers are excerpted from a conversation that followed the NBR screening of Flee. How long have you known Amin? What was it like to hear the truth about his background? Jonas Poher Rasmussen: I’ve known him for twenty-five years. I grew up in this very small village in Denmark, with like 400 […]