When did you first start noticing a disconnect between Yogi Berra’s reputation and the player the stats showed him to be?
Sean Mullin: I think that’s what this was all about. When I started doing the research, I was like, wait, this guy was criminally overlooked.
What was it about the riverboat casinos in Iowa that compelled you to write this story?
It was really interesting to see the anti-glamorous version of a casino. There was a story in there somewhere that we hadn’t seen on film before.
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.
How did missing certain parts of the script before shooting influence you?
Parker Posey: I came on set thinking the film was one way — kind of light fare — and I sort of had water thrown on me by Woody: He immediately told me that she’s a suffering, lonely woman; she’s very unhappy.
This film is very inclusive and focused on women. Were you aiming to make a film about female empowerment? What was your concept about the story, initially?
I like the idea of making something that people can take away from it whatever they want.
Did you set out to make a film about Stacey Abrams? How did this story come together for you?
Liz Garbus: For us it started when Stacey reached out.
How did you get involved with this film?
This project actually just came to me—Katie [Couric] got in touch with me out of the blue with an email that simply said, “would you be interested in doing an Inconvenient Truth on food?”
What attracted you to this project?
Kate Winslet: When I first read the script, I was really taken by the physical demands.
Josephine, can you speak a bit about that rehearsal process?
When I was going into it, I thought we needed three weeks of rehearsal. Of course, we had like a day and a half!
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.
Can you talk about the work you did to develop your roles and form your bond on screen?
Jeff Bridges: Actors approach their work in different ways. You get some that say, “please, just call me by my character’s name… I like you, you’re a nice person, but let’s not hang out too much.”
The film is based on a book of short stories by James Franco. Can you tell us about how the project developed?
Coppola: James and I met up randomly – I had seen him at a deli and then later that night I ran into him again.
This story is incredibly dramatic on its face. What were the underlying themes that most resonated with you?
E. Chai Vasarhelyi: I think it’s important to remember how divided the world was in 2018.
What compelled you to make this film?
Vanderbilt: I’ve always been fascinated with journalism and I always sort of looked at it as the road not taken.
The rolling hills of a little village in Puerto Rico where Elsa lives are covered in tropical forest. Elsa observes with concern the relationship between her son-in-law and her granddaughter. Nonetheless, she continues to go about preparing food, hanging out the washing, feeding the chickens and tending the garden.