Q&A with Ted Braun

What was your original artistic challenge when you were approached with this project? A profile of one person is quite different than your previous work.

Ted Braun: The previous films I’ve done, feature documentaries I’ve done (Betting on Zero, which looked at allegations of global economic criminality, and Darfur Now, which looked at allegations of massive, systemic violent crimes in Sudan) were, in different ways, ensemble stories about people trying to expose wrongdoing.

Q&A with Paul Greengrass and Helena Zengel

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.

Q&A with Nicole Riegel

The film is visually stunning. Can you talk about your approach, and how you worked with your collaborators?

Nicole Riegel: I knew the color palette I wanted to use before I began collaborating with my production designer and cinematographer.

Q&A with Martin Scorsese

There’s a lot of complexity there. Did you really see it as love story? I kept questioning whether he loved her.
Absolutely. And her too. How much did she know? She must have sensed something.

Q&A with Christopher Nolan and Emma Thomas

When you’re talking with Cillian about that and how you’re going to essentially be inside of his head for a lot of the film, what do you discuss about him embodying this man?
Christopher Nolan: I think the first and most important conversation was the one where we both agreed that we were not interested in some kind of impersonation.

Q&A with Chris Rock

The scene where you go to see your family is amazing. Can you talk about how that came together?
It was ninety degrees in August, in New York City, in the projects. So you can imagine… just the smell!