Mr. Law, when you play a character like this, what does that do to you over the duration of the production?
Well, you pick up a lot of unhealthy habits! I was very ready to let him go, when we wrapped.
![](https://nationalboardofreview.org/wp-content/uploads/2014/04/IMG_1180forweb.jpg)
Mr. Law, when you play a character like this, what does that do to you over the duration of the production?
Well, you pick up a lot of unhealthy habits! I was very ready to let him go, when we wrapped.
What inspired you with this film and why did you set it in the world of 1950’s London fashion?
Paul Thomas Anderson: I had a thin story for a romance about a man, woman, and maybe third party.
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
Can you talk about conceiving this story, and you’re writing process?
Noah Baumbach: It was inherent in the title that we are asking, “Does anyone really know what the story of a marriage is, and if that story has an end of sorts, does it mean it wasn’t a marriage?”
Can you talk about playing someone who is emotionally disconnected or doesn’t show emotion?
Casey Affleck: I don’t often think myself about how much emotion I’m showing in real life.
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 it like developing the script with your cousin Jessica Barr after she had written the first draft?
Jessie Barr: We did a lot of talking and a lot of sharing; there were intimate conversations about what we’d gone through when we lost our parents.
Mr. Chandor, why did you want to bring this story to the screen?
It was sort of two ideas that ran into each other. There was this core story that I had been working on for many years – probably six or seven years, actually – about a husband and wife who ran a business together.
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.
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.
There have been other stories about the cartels and the drug war. Why did you want to tell this particular story?
Denis Villeneuve: For me it’s not a movie about cartels. I don’t think anyone will learn new things about cartels from this film.
Baz, I read that you were not setting out to make a biopic. Tell us a bit about that approach and how that informed the film we saw today?
I love a good biopic as much as anyone, but they tend to be formulaic… someone is born, then this happens, then that happens
Anita, a young Indian living in the US, returns to India for her sister’s wedding. She counts on her husband’s support to announce some great news. All excited, her family immediately assumes Anita is having a baby, but their joy is short-lived. Anita has found a new job.