You’re a prolific writer, but this is only your second time directing a feature. What motivates you to direct one of your own pieces?
Mike White: I knew the tone was going to be particular, so it was just going to be hard to help another director interpret what I intended for film to be.
Steven, how did you conceive of Jacob initially?
Steven Yeun: When I read Isaac’s script, it was really honest from all perspectives and that was really the foundation of it all.
Can you talk about how the idea for the film came about? I read it was somewhat autobiographical.
That sounds weird off the bat. I have not committed fraud.
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.”
Mr. McConaughey, how did you approach Cooper?
I always saw Cooper as a man out of time.
How did you go about conceiving two characters who would ultimately converge?
Jason Reitman: I always thought of the movie as being like those lenticular posters, where if you look at the poster and you kind of move your head two inches, the image changes.
Fisher, I understand that this film had a pretty unique origin story?
Fisher Stevens: Leo [DiCaprio] called me and told me he was in Brooklyn, and that I should come meet him for lunch at the racetrack in Brooklyn. I told him there was no race track in Brooklyn!
Can you share some of your songwriting process with us?
John Carney: Well, I would say first and foremost, I am a hobbyist when it comes to songwriting. I’m an amateur. I do it because it’s fun.
When you’re talking with Cillian about that and how you’re going to essentially be inside of his head for a lot of the film, what do you discuss about him embodying this man?
Christopher Nolan: I think the first and most important conversation was the one where we both agreed that we were not interested in some kind of impersonation.
Can you both discuss how this film came about?
Benjamin Ree: The film began with me researching art robberies.
You did almost all of the work on this film— what was that experience like?
Jessica Kingdon: I did have a close cinematographer, Nathan Truesdell, and we shot it together. But, yeah, it was very much a film that was coming out of my own mind.
THE NATIONAL BOARD OF REVIEW NAMES 2018 HONOREES INCLUDING GREEN BOOK FOR BEST FILM OF THE YEAR & BRADLEY COOPER FOR BEST DIRECTOR OF THE YEAR The Organization’s Gala will be held on Tuesday, January 8, 2019 in New York City New York, NY (November 27, 2018) – The National Board of Review today announced […]
Mae lives a quiet life in the north woods with her estranged husband. Amid alienation and brutality, Mae forms an unexpected connection with a wounded rabbit, and finds that its fate is tied to her own.
The recent release of Salinger draws attention to a historical figure not widely associated with the eponymous author: Charlie Chaplin. The film advances the theory that the author never fully recovered from the heartbreak of having Oona O’Neill (daughter of playwright Eugene O’Neill) choose Chaplin over him.