This is something of a personal story, correct?
Ari Aster: The beautiful thing about genre filmmaking and the horror genre in general is that you can take a personal story or feeling that you need to work through and push it through this filter


This is something of a personal story, correct?
Ari Aster: The beautiful thing about genre filmmaking and the horror genre in general is that you can take a personal story or feeling that you need to work through and push it through this filter

How did this project manifest?
Leo Scott: I was editing a half hour comedy where Val Kilmer was playing himself as a motivational speaker in this sort of parallel universe. It was such a great performance, so bonkers and I wanted to tell him that.

Stephen, you’re no stranger to bringing musicals to the big screen, and you’re no stranger to stories about teenage longing and discontent. How did you get involved in the project?
Stephen Chbosky: I saw the show about three years ago, on Broadway. And I loved it. I didn’t know anything about it when I saw it. And I loved the show.

What drew you to this material and inspired you to direct the film?
Sian Heder: I came to this because it was originally a studio film, and Lionsgate was looking to do a remake of La famille Bélier, a French film that came out in 2014.

you take us to the beginning of this process, when you had bits and fragments of the story?
Shia LaBeouf: I was in an emotional rehab facility. It was court ordered that I go to a mental institution in Connecticut.

When did you first start noticing a disconnect between Yogi Berra’s reputation and the player the stats showed him to be?
Sean Mullin: I think that’s what this was all about. When I started doing the research, I was like, wait, this guy was criminally overlooked.

What was it about the riverboat casinos in Iowa that compelled you to write this story?
It was really interesting to see the anti-glamorous version of a casino. There was a story in there somewhere that we hadn’t seen on film before.

Can you discuss your inspiration for writing this story?
Robert Machoian: It was really motivated, to some degree, my own life in the sense that I’ve been married for quite a while, and I have children, and coming to this period in life where many friends of ours were starting to separate.

What did your writing process entail?
It kind of had the whiff of destiny, from the time I read the book.

Can you describe the origins of the story as it is portrayed on the screen?
Regina King: I would say that none of us were there that night.

How did you come to this story, and what was the writing process?
Bahrani: I was interested in this whole world-turned-upside-down issue during the economic crisis. The focus was housing.

There’s an incredible attention to detail throughout the film, from the dialog to the set decoration. Could you describe how you approached these aspects of the film?
Robert Eggers: New England was the most literate part of the Western World; you had to teach your children how to read– it was against the law if you didn’t, because you had to read the bible in English.

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 […]

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.