Owl Guy, a retro comic book superhero, is suddenly introduced to his rebooted counterpart.
Can you describe your writing process for this film?
Trey Edward Shults: It started when I wrote this in 2014, and it comes from a personal place of having a rough relationship with my biological father who suffered with addiction.
What was the process of you discovering the source material and trying to get it produced?
DeCaprio: As soon as I read the novel I thought, “This is like a modern day Caligula.”
How did you find this story?
David Lowery: It was a true story about this guy whose life was too good to be true in terms of a narrative.
Can you discuss the process of adapting the book for the screen?
James Gray: The book is a meticulously researched thing. Immediately you realize that you’re in for it if you change something factually and of course I had to, because it’s a movie.
One of the most priceless moments in the film is when Lady Bird escapes from the car. What was it like putting that scene together?
Greta Gerwig: That scene was such a monster on the page because there are so many emotions.
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.
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.
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 […]
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.
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.
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.
The letter’s from a five year old boy and it says, “Dear Mr. Rogers, are you for real? Are you for real or not?”
There was such incredible chemistry amongst the cast. How did you build that? What was the rehearsal process?
Viggo Mortensen: Early on, which was great and doesn’t always happen, Matt brought me into read with the last couple of kids we were casting.