The Wishing Cranes is about Yuki and Sho, two orphan siblings living in Japan in the 1960s. Sho is a responsible brother and a hardworking paper boy, Yuki, his younger sister simply wishes she could spend more time as a family.
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.
What drew you to this story?
Adam McKay: We had done a movie with Will Ferrell and Mark Wahlberg called The Other Guys, and the goal of that movie was to do a comedic parable of the collapse.
How did you get involved initially with the film?
I got a call from my agent while I was in the middle of a different project, and he let me know that Alejandro wanted to meet me. And at first I was pretty disappointed, because we just couldn’t figure out how it’d work from a scheduling perspective.
There have been other stories about the cartels and the drug war. Why did you want to tell this particular story?
Denis Villeneuve: For me it’s not a movie about cartels. I don’t think anyone will learn new things about cartels from this film.
How did you decide to make these stories into a feature film?
Bonni Cohen: John and I are a married couple – we’ve been making films together for almost twenty years now. And we’ve done a lot of hard films.
A MOST VIOLENT YEAR NAMED 2014 BEST FILM OF THE YEAR BY THE NATIONAL BOARD OF REVIEW *** 2014 Gala to be held on Tuesday, January 6, 2015 hosted by Lara Spencer New York, NY – (December 2, 2014) – The National Board of Review has named A MOST VIOLENT YEAR the 2014 Best Film […]
A select group of knowledgeable film enthusiasts and professionals, academics, young filmmakers and students, the National Board of Review viewed over 250 films in 2005 including studio, independent, foreign-language, animated and documentary selections. These screenings were frequently followed by in-depth discussions with filmmakers, directors, actors, producers, and screenwriters. Voting ballots were tabulated by the accounting […]