Brothers, a mother, songs from the seventies, Xanax, and a woman named Vicki. Stay Awake follows two teenage brothers through their weekly routine of finding their wandering mother and taking her to the hospital to detox from a prescription drug addiction. When it becomes clear that their mom may never get better, both brothers have to decide whether to remain in the cycle, or move on.
Talk about the inspiration for this piece.
Anderson: There’s this writer Stefan Zweig, who I had never heard of up until six or seven years ago. I read “Beware of Pity” – which I loved – and I thought about trying to adapt this book. But then I read more of his fiction and I kind of liked many of the pieces, and then his memoir, “The World of Yesterday,” ended up inspiring the whole setting of the movie. So I ultimately decided to do something Zweig-like, instead of adapting only one of them.
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.
You used classic filmmaking techniques, especially in the opening scene. Can you talk about shooting it?
Scott: These storms are absolutely disgustingly filthy, and we had real fifth in the air. You have a real mix of dust.
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.
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?”
How did you develop this story?
Aaron Sorkin: I like claustrophobic spaces and compressed periods of time, especially when there’s a ticking clock. I like being behind the scenes, in this case literally behind the scenes.
How did you get on this project? How did it come to you?
John Krasinski: So I was about to start pre-production on Jack Ryan, and some of the producers on Jack Ryan were Platinum Dunes, and they said, “Would you ever act in a genre movie?” And I said, “Oh no, I can’t do that, I don’t do horror movies.”
Can you talk about how found this story and why it’s important to tell now?
Richard Linklater: I read Darryl Ponicsan’s book and just loved the characters twelve years ago.
The opening shot of the ocean felt very lyrical. What made you decide to open your film with this particular shot?
Mike Mills: In the script, the first shot is of a car burning and of course that seems like such a good way to begin a movie.
Through a little boy’s magical journey in life, his expectation of a family picnic always fails to materialize. Until one day, he finally meets with his love in the city.
For over 50 years, motion picture exhibitors have been battling television executives for the attention (and dollars) of the public.
A woman breaks the silence over a painful family secret, embarking on a journey alongside her mother and sister to heal and bring an abusive spiritual guru to justice.