Q&A with Sean Mullin

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.

Q&A with Saoirse Ronan and Greta Gerwig

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.

Q&A with Ryan Fleck, Anna Boden, and Ryan Reynolds

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.

Q&A with Ruben Östlund

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.

Q&A with Ron Howard and Raymond Phathanavirangoon

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.

Q&A with Robert Machoian and Clayne Crawford

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.

Q&A with Ridley Scott

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.