Mr. Sachs, can you tell us about developing the story?
Sachs: This is my fifth feature, and all of my films – while not strictly autobiographical – are very personal to me, and connected to my own life on some level.
Search Results for: You Were Never Really There
May 2022
Q&A with Hanna Bergholm
How did this project start, and how did you come to the story?
Hanna Bergholm: It started when the screenwriter Ilja Rautsi contacted me, and he told me he had this one sentence idea in his head: A boy hatches an evil doppelgänger out of an egg.
September 2022
Q&A with Halina Reijn
The following questions and answers are excerpted from a conversation that followed the NBR screening of Bodies Bodies Bodies. How did your experience in the industry as an actress influence your approach to this film? Halina Reijn: Yeah, I used to be an actress, mostly on stage. I was in a theater company and lived in […]
July 2018
Q&A with Gus Van Sant, Kim Gordon, and Jonah Hill
What are the origins of the script?
Gus Van Sant: I live in Portland, Oregon. I had moved there, I think, in 1982. I had made a couple of films, and John Callahan was a visible, local character.
July 2020
Q&A with Greg Barker and Wagner Moura
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.
December 2017
Q&A with Graham Broadbent, Sam Rockwell, and Martin McDonagh
What inspired this story?
Martin McDonagh: I saw something similar to what’s on the billboards in the film when I was on a bus going through one of the Southern States about seventeen years ago.
August 2018
Q&A with Glenn Close, Jonathan Pryce, Annie Starke, and Björn Runge
Why did such a good script take so long to come to the screen?
Glenn Close: Have you heard of something called the “#Metoo” movement?
May 2014
Q&A with Gia Coppola and Nat Wolff
The film is based on a book of short stories by James Franco. Can you tell us about how the project developed?
Coppola: James and I met up randomly – I had seen him at a deli and then later that night I ran into him again.
February 2021
Q&A with Garrett Bradley
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.
October 2021
Q&A with Fran Kranz, Reed Birney, Ann Dowd, and Jason Isaacs
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.
May 2022
Q&A with Frank Marshall
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.
June 2020
Q&A With Fisher Stevens and Malcolm Venville
Fisher, I understand that this film had a pretty unique origin story?
Fisher Stevens: Leo [DiCaprio] called me and told me he was in Brooklyn, and that I should come meet him for lunch at the racetrack in Brooklyn. I told him there was no race track in Brooklyn!
November 2015
Q&A with Finola Dwyer, Saoirse Ronan, and John Crowley
What in your own life has helped you connect with the story?
John Crowley: I moved to London when I was 27 to direct a play at the National Theatre. Having been back and forth from London since I was about ten, I knew London better than I knew Dublin.
April 2016
Q&A with Ferdia Walsh-Peelo, Lucy Boynton, and John Carney
Can you share some of your songwriting process with us?
John Carney: Well, I would say first and foremost, I am a hobbyist when it comes to songwriting. I’m an amateur. I do it because it’s fun.
May 2018
Q&A with Ethan Hawke and Paul Schrader
What was the genesis of this film?
Paul Schrader: The process began about three years ago when I was giving an award for Pawel Pawlikowski, for his film Ida at the New York Society of Film Critics.