Around 2004, you were doing research about curry during Queen Victoria’s time, and it seems you ended up finding much more than expected?
Shrabani Basu: I knew that that Queen Victoria loved her curry and she had so many Indian servants that cooked for her.
you take us to the beginning of this process, when you had bits and fragments of the story?
Shia LaBeouf: I was in an emotional rehab facility. It was court ordered that I go to a mental institution in Connecticut.
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.
How did you shape the story of the documentary?
Sam Feder: It’s such a dance, when telling any story.
How did the idea of the script develop from the art piece of the square?
Ruben Östlund: The whole idea of the script developed in 2008. I don’t like to talk about it as an art piece but instead of as a humanistic traffic sign, actually.
What was it like bringing a production of this size to Thailand?
Ron Howard: That was the big question I was asking of myself, going into the movie. I knew there was a genuine hurdle there.
Can you discuss your inspiration for writing this story?
Robert Machoian: It was really motivated, to some degree, my own life in the sense that I’ve been married for quite a while, and I have children, and coming to this period in life where many friends of ours were starting to separate.
What were your first thoughts, after reading the script?
Simon Rex: I was just like… whoa. Whoa. WHOA!
You said that your biggest talent was in the casting of the film.
Linklater: I think the movie speaks for itself in that way.
Can you talk about the research that you did, and about the consultants that you brought in to make sure you got it right? I was so impressed with how authentic this story was.
Reinaldo Marcus Green: So, I’ll start with the consultants. We had a gentleman by the name of Neville Garrick, who we represent in the film. He had done the album art work, and he also did the lighting for all of the shows.
We spent three years filming, and we went to twenty five countries with Quincy.
Can you tell us about the origins of this film?
Paul Greengrass: I think the origins of it lie in the last film I made, actually, 22 July, which was a pretty tough film about violent right-wing extremism in Europe.
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.
What was it like, collaborating with director Christian Petzold for a third time?
Paula Beer: Well, working with Christian is just fun. And his way of working is different from everything I’ve experienced so far.
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.