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.
Can you talk about making the transition from athletics to a visual and creative artist?
Savanah Leaf: In a way, I think a film is this combination of working in a team environment.
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.
Can you discuss the way the film begins, and ends, with a family dinner scene?
Pascual Sisto: I think they are two very important scenes, but I will first say that, as a point of interest, they were shot on the same day because of practical reasons.
Do you think Nicolas Cage’s casting creates an expectation with the film? And if so, did you intentionally subvert those expectations in any way?
I think it does create an expectation. Certainly, people have certain types of films that they associate with Nic Cage. But we never set out to subvert anything
There’s a lot of complexity there. Did you really see it as love story? I kept questioning whether he loved her.
Absolutely. And her too. How much did she know? She must have sensed something.
What was it like adapting your book into your first screenplay?
Brian Selznick: I started writing the screenplay secretly at night when I was illustrating and writing another book.
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.”
What was the research process like, preparing to play such a quiet man with a strong presence?
Joel Edgerton: For Ruth and I, the documentary became a road map for us to think about the way we needed to look and how we needed to carry ourselves.
Why did you want to be in this film?
Redford: Because he asked me! In all honesty, I’ve spent many years building an organization to promote independent film, and yet no one has asked me to work in their film.
What was it like working on Pete’s Dragon while writing A Ghost Story?
David Lowery: The script was only thirty pages and I sent it to my producer friends, saying, “let’s make this.”
The way you build tension throughout the film is incredible. How did you approach that?
n a very organic way, it’s a girl against time. Suspense comes naturally from that premise, by using the DNA of the true story.
Why did you decide to shoot this film in black and white?
Alexander Payne: You know, it wasn’t ever really a decision—it just felt right. It had to be in black and white.
MANCHESTER BY THE SEA NAMED 2016 BEST FILM OF THE YEAR BY THE NATIONAL BOARD OF REVIEW *** The Organization’s Annual Gala will be held on Wednesday, January 4, 2017 with NBC’s Willie Geist set to return as host New York, NY – (November 29, 2016) – The National Board of Review has named […]
MAD MAX: FURY ROAD NAMED 2015 BEST FILM OF THE YEAR BY THE NATIONAL BOARD OF REVIEW *** 2015 Gala to be held on Tuesday, January 5, 2016 hosted by Willie Geist New York, NY – (December 1, 2015) – The National Board of Review has named MAD MAX: FURY ROAD the 2015 Best Film of the […]