THE NATIONAL BOARD OF REVIEW ANNOUNCES 2015 STUDENT GRANT WINNERS New York, NY (July 6, 2015) – The National Board of Review announced today that it will be awarding grant money through the organization’s annual Student Grant Program to 23 filmmakers, including nine graduate students and fourteen undergraduate students. These schools include Brooklyn College, City […]
Born and raised in Manhattan, Liane Newton dreamed of owning a farm. After the death of her father, she set out to make her fantasy a reality.
Newton now runs nycbeekeeping.org, a non-profit working to ensure that all beekeepers in NYC have access to training and mentoring.
An obscure birth defect left Julian’s eyes highly sensitive to light. Consumed with a fear of the outside world, he receded into the shadows. When he hires Katherine, a short-term assistant, an unexpected friendship blossoms. But his carefully constructed world begins to destabilize when his feelings for her intensify.
You all shot for a few nights on the actual BART platform where this tragedy took place. Can you talk about that experience?
Diaz: It was one of the most intense things. You can still feel the ghosts there, the presence of the pain and violence and fear and everything that went down that night. That day was special. We started off with a prayer. It was powerful.
When an actor does Macbeth on stage, they get to experience the character straight through. How was it playing it in a film?
It’s just a normal thing, really. It’s such a rare opportunity to do something in chronological order when filming; it just never really happens.
Ms. Varda, you say very early in your film that “chance” is your assistant. JR, would you say that you agree with that philosophy?
JR: Yes, definitely and that’s why we got along well.
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.
Can you talk about the collaboration between the two of you in terms of writing, producing, and performing this?
Rafael Casal: Yeah, Diggs, can you?
Daveed Diggs: I mean we’ve been working on this for ten years at this point with our two producing partners the whole time, Jess and Keith Calder.
What was your script development process, and what was your reaction to it on first read?
Darren Aronofsky: All of my work outside of filmmaking is environmental work. As a parent, I’m very concerned about the future.
How did you end up bringing it to the screen?
Daniel Pearle: Jim Parsons read the play and he had just started his company, That’s Wonderful.
You’ve been with this project for 18 years. What’s the process been like?
Phyllis Nagy: Until the current team came aboard, there was me and a computer that sat on idle for five years