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TV Directors Roundtable: Ava DuVernay, Patty Jenkins, Adam McKay, Ben Stiller & More | Close Up

(upbeat music) – Hi, and welcome to Close Up with The Hollywood
Reporter: TV Directors. I’m Rebecca Ford and I would like to welcome Ben Stiller, Patty Jenkins, Jean-Marc
Vallee, Ava DuVernay, David Nutter, Adam McKay. Thank you guys for joining us. We’re gonna jump right in here. It wasn’t that long
ago that film directors would have never worked in TV,
but that has really changed. Why do you think that is? – I always wanted to do television,
and it was a funny thing because I like having
the different options. So right after I’d made “Monster”
I made a concerted effort to go and direct “Arrested Development” because I missed comedy
and I wanted to do it. It used to be more limited. There was only so many things
available in television and so many things available in film, and now I think finally that has blurred. We’re really getting a chance to do what you would do on a feature but longer. – Adam, how about for you? – When I was a kid, one
of the big moments for me was like when “Hill Street Blues” came on. It was the first time
I really saw something that was funny and dramatic and different. And that was TV, and there were a lot of shows
like that when I was kid. Even shows like “Taxi” and “Barney Miller” that were really impactful. So I have the same feeling as Patty. I really felt like TV was exciting, that there’s a scope to it
that I was ready to embrace. And then especially in
the last 10 or 15 years when you’ve seen TV go
more towards a film style but still have that larger narrative arc. It was sort of hard to resist. – Mhmm. Ben, how about for you? – Back when miniseries came
on, back when “Roots” came on, “Shogun,” these big
events, it was so exciting because it’d be four nights in a row and all of a sudden
everybody was watching it at the same time. I think, what Adam’s
saying, it’s just changed in terms of the opportunities
that are available now. In a lot of ways it’s more
accessible as a filmmaker to be able to work
within it in areas that, you know, you’re not
thinking about box office, you’re not thinking about how many people are not going to see it possibly because if it doesn’t have
a big opening weekend. And there’s a chance for a lot
more people to experience it, and take your time and tell a story the way you want to tell it. – Ava, tell me what
brought you to TV with this and, of course, “Queen Sugar.” – To me it’s really
the same thing, for me. I don’t think of it as
film and television. Between “Selma” or “Queen
Sugar” or “A Wrinkle in Time” or this piece, “When They See Us.” It’s just my story and I’m
trying to find the forum that fits that story. And that’s the privilege of
being able to make work now, where we have so many platforms, so many opportunities
to reach an audience, that I’m really thinking about a story. I mean, this story that I made now was originally supposed
to be a theatrical piece, and I said, no, I think it’s a series. Because I need more time. And it also has to do with racial bias and all the stuff that I think people don’t really go to the movies for but they may watch in
a “Roots” environment, in their own home with
their families, comfortable. So the lines are so blurred now that when I think of what
we’re doing in the TV space, I don’t think of the old TV that I watched when I was
younger or those event things. I think of it as now a story that can take any form we decide. – [Rebecca] Mhmm. Jean-Marc, how about for you? – I relate to what Ava just said. And every project, whether
it’s for TV or film, I approach it the same way. There’s a project, there’s a story. How am I going to serve
it, to be at its service and find the visual style? Of course it’s longer and
the challenge is there, and the fun. We have time to develop characters in eight hours instead of two. I mean, we shoot like
it’s three feature films. We shoot one, two, three,
take a break, four and five. ‘Cause I’ve been shooting
all of the episodes, so it’s like directing a
very long feature film. But it’s fun, and it’s fun also
to get to find a cliffhanger at the end of an episode to stay tuned. (laughter) – So let’s talk a little
bit about the intensity of these shoots. A lot of the subject
matter here is difficult. You’re shooting in jails, you’re shooting heavy subject matter, you’re shooting extremely
ambitious battle scenes or tons of characters. How do you go about making
sure to protect the actors and make sure no one’s
getting totally worn down? What are you doing as a director to sort of make sure
everyone’s taken care of? David, how about on Game of Thrones? – Well, I think the most important part of that is information. I think that it’s all about rehearsing, it’s all about the casting. It’s all about, I fall back
to my hero, Sidney Lumet, it’s all about taking actors,
taking them into rooms, talking them through sequences and letting them know
what’s going to happen, and making sure plenty of
rehearsal time is allotted. This final season of the series was good because we had all the actors get together at the beginning of the season and we all read the script. All the scripts. And then I went to the casting director and said, where’s my time with the actors? Do I have some time? And she said, you have four days. So I went back to my office
and typed up all these, Tyrion and Cersei will do
this for 12, four days, blocked out every scene, every two-hander, every group scene they were all in. Made sure David and Dan were coming by to see some of the sequences, see if they’re comfortable with it. I’d tape out locations and
tables and the whole thing, whatever that would be. And we basically got a
chance to got through the entire three shows that I directed with all the actors. And they loved it because
they didn’t have to think about it on the day. It was a situation, I’d get
out to Winterfell Castle and I’d take two pieces of tape from, or the throw marks from the
assistant camera operator, I’d throw them down and
Peter would come out and Jaime would come out
and they’d hit their marks and all the crew would be like, oh great, we don’t sit
around for two hours and figure this out, let’s go. So to me, as much information
as you can instill is very important. Season five, I didn’t want to read what happened to Jon Snow in season six, so I never knew how that ended. So I was at a fundraiser
with President Obama at Chuck Lorre’s house one day and they were all excited I was there because they were showing
the last two episodes of season five. And I take the picture with the president and he takes my hand and shakes my hand and says, you didn’t
kill Jon Snow, did you? (laughter) And I said, yes sir,
he’s deader than dead. (laughter) You kill all my favorite characters. So it was situation in
which I didn’t lie to him, but next season people came back and said that I’d lied to the president. (laughter) Waiting for the IRS to come get me, but fortunately they didn’t. – So are you told the
story arcs for everyone through the entire season,
even if you’re not directing the final couple of episodes? Do you know what happens
to every character? – Well, for this last season of course I wanted to sit in on the read-through and see how it ended. But prior to that, I
wouldn’t want to read forward of what I was doing because
it would inhibit that. If they needed me to do something to help arc something for a character later on, of course I’d know all of that. But some of the stuff
I didn’t want to know because I think it made it much more clear for me to tell the story
from that perspective of the character at the time it happened. – Ava, Jean-Marc, tell me about how you worked with the actors when the material was so dark. How did you sort of help them handle that? – I’ve become used to working with actors on the really, really dark stuff, and I think information is important. It’s really, since
these historical pieces, whether it’s “Selma”
or “When They See Us,” making sure that the actor
knows what happened before, that knows that what they’re
doing is steeped in history, that they’re playing real
people, what the stakes are. That this isn’t happening to you, that this happened to someone else, and that you have to
tell us what that was, so you’ve got to go deep. It’s really just making sure
that they know those stakes and those stakes are supported
by what really happened since these are true stories. And I find that that helps
the actor defend themselves against any kind of real
interior damage, in a way, because they feel like,
I’m representing someone that needs my help here. But then I also do have
counselors on the set, particularly with this piece. If anyone wants to talk afterward, if you just want to go cry,
if you just want to sit alone, because when you’re asking
people to go to these depths you have to take care of them. – Did anyone ever use the– – Yep.
– That’s a really interesting idea. I’ve never heard that before. We had that with our scenes
in our last movie that we did. We had to depict torture,
the US torturing Iraqis. I’ve never thought of that before, to actually have that available. – Yeah, I didn’t do it
on my first couple films that really dealt with it, and I would talk with actors afterward and they would tell me
how hard a time they had. You know, it’s hard to let go. But that this had done
something, some real damage, and I said, how can we correct this? Just from a place of good health. Yeah. – Every project’s… On “Dallas” there was a
very damaged person there, the character of Matthew McConaughey. This one, it was about,
it’s a family story, “Sharp Objects,” where
there’s a history of abuse between the women of the family. Of course, it comes from a book. And we loved the book
and it was our bible. So how we worked, I mean, Amy and I had a routine in the morning where we had to talk about
the day she was having, two hours of makeup with
all these scars on her body. And talk about the day and
the scenes and where she is, where she’s going, what’s
the emotional target, objective, goal today. And we loved to refer to the
book and to come back to it and to see and to compare with Marti and what Marti did with
her team of writers and then go back to the
book and the intentions. And it’s all about trying
to be real, be true, and serve the thing. So, yeah. (Amma grunting) – It’s okay.
– What’s going on? Hey, Mama, what’s going on? – Stop it.
– Is she all right? – She’s scared, she’s lashing out. She just saw two of her friends murdered. (Amma sobbing) You were drunk at the Keenes’ house. (Amma sobbing)
– I wasn’t. But even if I was, this is
Wind Gap, everyone’s drunk. – Camille–
– No, Amma’s throwing a fit, and you’re giving me a
lecture about drinking? – And Ben, was it actually in a prison, or the real prison that it was set it? – Yeah, we filmed scenes
actually at Clinton Correctional, in the yard, the north yard
there, which is this huge, it’s almost like a
little Roman amphitheater built into the side of the mountain. And then we filmed outside of that prison, and then we went down to Pittsburgh and we shot in a real
prison in Pittsburgh. The environments for the actors, when you have this much work too, these things are long,
there’s just so much. How do you tackle all this? And you have to kind of
break it down, I think, just scene by scene and
take the pressure off of, like, we’re going tell
this whole long story, just do it bit by bit. Having to shoot like a movie,
it’s literally block shooting, so you’re shooting everything
that happens in one location for six episodes. It’s confusing for the production people but I think ever harder for the actors, ’cause they have to place themselves where they are in the story. So I think it’s just like
breaking it down bit by bit, and then just creating an environment where everybody feels safe to take chances and to figure it out together
and to have a common, ’cause I think what you’re
talking about doing with Amy, just having a sort of common
idea of what you’re going for. You know, I find when you
work with great actors they’re going to bring so much, they just bring so much to you, they’re going to have ideas
that you wouldn’t have had. I like to try to let them have
the space to do their thing and see what they bring
instinctually to it. And being in the real
locations and all that really, I think really helps. – As a director, you’re obviously making a million decisions a day and you are the leader of this team. What do you do when you feel unsure? Have you ever stepped onto a project and thought, “I’m not ready for this,” and how did you deal with that? Or are you guys always
sure on every project? (laughs) – I’m unsure every time I get
a script, you’re never sure. And if you’re not sure, you have to fake it until
you are sure, I guess. Within respect. – I always find yelling at
people works really well. (laughter) To make me feel stronger and better, even if it’s over nothing. So I’ll chastise people, scream at them, and then I start to feel
powerful and I get, no, no. (laughter) I think David’s answer is perfect. I think you should be walking on set with a certain degree of uncertainty. I think that’s actually a
healthy part of the process. Nothing can ever replicate that feeling of being on that set with
these incredible actors, emotionally stated in this scene. And to acknowledge the
fact that I don’t know exactly what’s going to
happen in this situation, I think that’s reason
we probably all do this is that discovery is so cool. – To me the challenge is what
the actors have to deal with. I just want to give them
as much of an opportunity to have an environment depending
on what the situation is. Whatever’s going to help them be okay. And every actor’s different, whether it’s having less
people around or, you know. – I think that’s so
important because, for me, I want to make sure that
they’re as pleased with it as they can be. Because I get to go home
and play with all the toys and edit and fix, and, you know, I get to spend more time with
whatever we’ve done on a day. I can’t imagine being an actor. I think they’re so brave. You know, it’s their
face, it’s their face, it’s their body, it’s their memories, it’s their blood pumping
through their veins that they’re giving to this. And then they literally have to say, okay, take care of all that that I did and hope it turns out okay. And they can’t touch it again. Whenever an actor says, one more, I’d be like, two more. Okay, let’s just really
make sure we get this because I think the actor’s instincts is something to be respected but I also always just think, gosh, they have to walk away
from this thing and trust me. I could never do it. (laughter) I could never do it, I’m too controlling. – [Patty] No, me too. – [Ava] You know what I mean? I could never do it. – I feel the same way. I’m like, I’m good as long as
I can go and organize it all and be like, now I’m ready. (laughter)
– [Ava] Right? – Not just on the fly, I could never. – That’s so true. I’ve done small parts. I’ve given myself like two lines. And it’s just misery. You’re like, these actors
have the hardest job ever because there is such an ego
death that goes into acting. You’re just like, I trust,
it’s all in your hands. And with “Succession” we had
that, where there were… That’s why I was interested
when you were talking about the idea of therapists on set because when you get to that
real dark, personal place, which we had Jeremy
Strong, we had Brian Cox, who were getting into
those kinds of areas, you feel like a responsibility. Ben was kind of talking about this, that you have to be a
good steward of the set. And yeah, the idea of
putting yourself out there that emotionally raw, it’s
kind of an amazing thing. I feel like a humility whenever
I watch it happen, yeah. – This year on “Game of Thrones,” and I’ve had this before on other shows, people’s death, their last scene. And to me that’s such an
important thing is making sure that they feel comfortable with it. And I would always go to
them and let them know this is the one, this is the angle or this is the whatever we’re doing and I’ll keep doing it
until you feel comfortable. ‘Cause it’s too important. ‘Cause they have to walk away feeling that they contributed to that. And I heard a story once that acting is standing
in front of crowd naked and turning around very slowly. (light laughter) And it really is that. It’s a situation, if they fall, you have to be there to catch them. ‘Cause so much of the time anymore, there’s so many monitors
and so many layers between actors and directors and so forth, and I always like to get up
there as close as possible so they know that, with
everything that’s going on, they’re still the center. ‘Cause without them, we’re nothing. (crowd chatter) – [Davos] Not so long ago
the Starks and the Karstarks were slaughtering each
other on the battlefield. Jon Snow brought peace to the houses. – [Tyrion] And our queen is grateful. – Her gratitude is lovely,
but that’s not my point. The Northmen are loyal
to Jon Snow, not to her. They don’t know her. The Free Folk don’t know her. I’ve been up here a while, and I’m telling you,
(goat bleating) they’re stubborn as goats. You want their loyalty,
you have to earn it. (crowd chatter) – I think it’s part of
the job to feel unsure. The more I work, I feel more
confident about my tools and the craft and how I’m going to shoot. I accept to be creative on the day. Before I needed to shot list, storyboard and be creative before the day. But now, I don’t shot
list, I don’t storyboard. I know I’m going to figure
it out with the actors and the crew. I feel unsure sometimes and, okay. But I wonder if you guys, when
you’re doing the big films, “Wonder Woman” and “Game of Thrones,” you have to prepare, I guess.
– You do. – And do a shot list. – [Patty] Yeah, you do. – But still there’s some room to be– – For sure. I do it 100% of the time, but I don’t do what I shot
list plenty, you know? (chuckles) So I always have to have a plan more because of forgetting a
shot more than anything else. More because I’m like,
ugh, that shot, ugh, that shot of the keyhole, I forgot. ‘Cause you get caught up. But performance-wise, I always have a plan but you always see what’s happening. – Yeah, of course. – So you know you have cover, but then you’re ready when
you see what happened. Yeah, but it’s a funny
thing about the big movies, ’cause you’re shooting
one scene over 10 days, so you have to know
what shot you didn’t get if it’s an action thing. Did you really have
scenes in “Wonder Woman” that took 10 days? – [Patty] Oh, more. – Are you serious? Wow! – Things like the beach battle and stuff, that’s three weeks. – That was crazy.
– Three weeks, you know. And that’s what I’m saying, that stuff is actually lunatic, too, because not only are you shot listing, but there periods of time in
the middle of making the film where I was like, please don’t die. ‘Cause I was the only person who now knew (laughter) how that
compromise I’d made up for with that compromise, and there’s no way I
can explain to anybody how that’s all going to fit together because this change and so I did that. So you’re like, oh God, let me just get this whole thing together and pass it on to somebody else. – [Ben] That’s the only
reason you didn’t want to die? (laughter) – There are other reasons, but it’s a new version
of please don’t die. (laughter) There was a period of time
where I was on a flight with one of my producers. It was three-quarters of
the way through the movie, and I was like, and we
had really turbulence, and I emailed, I was like, if the plane goes down, just know I’m not okay
with that, whatever. (laughter) – Take three. – [Patty] Yes, exactly, exactly, yeah. – That’s someone who loves filmmaking. – [Patty] I do. – First thought goes towards that. – [Patty] Yes, of course. – You know that Adidas commercial we shot? Just please make sure
to use the wide intro. That’s really funny. (bright music) – I’m curious if you
can give me an example of a time an actor brought
up an idea on your project that maybe you weren’t
really into at first and then went with and it ended up being sort of the right choice
that you hadn’t thought of. – Like hundreds of times.
– So many times. (all laugh) – [Patty] Like a million. That’s actually how I feel. Like that’s actually a
part of the normal system. I learned over the years
a couple of things. One is never note the actors right away ’cause sometimes they haven’t realized. Like they came in with something. In fact, they meant it to do something and it didn’t do it. So give them a chance to see
what they were trying to do. But then like I’ve definitely learned particularly with actors, unless there’s a really clear reason like you can’t give away
that spoiler with that line. I always try it and it’s
a constant collaboration. It’s constantly something
I didn’t think of and then you’re saying, whoa, okay, cool. Oh, I see what you’re, yeah, you’re right. That’s a way I wasn’t looking at it. – [Ben] You know, being an actor also and when you work with
many different directors, sometimes actors will make a
choice that they’ll stick with, I’m saying this from my own experience, because you feel that’s the right choice and you don’t want to give
the director any other choice to cut to. And I find as a director,
when an actor does that to me, it drives me crazy.
(all chuckles) Because I know what they’re doing. And, you know, sometimes it’s a discussion and sometimes it’s just
like yeah, that’s how I feel about what that choice is. If it doesn’t jive with what your idea is, that can be where you, I think, sometimes have those creative discussions. And, you know, at the end of the day, you have to feel as a director that you have the choices that you want. I mean, I’m not one who like needs to have a million different choices or something and I do feel like when you see something and go, that feels right,
I’m happy to do with it. It can be tough, it can be tough. And you have to then trust that and see how far you want to go in terms of the discussion
with the actor to get it to have another way to go. – And when it comes to improv, I know “Succession” uses
quite a bit of that. Was there a moment that
was improvised day of that you’re especially proud of or that you especially love? – Yeah, I think it goes back to what we’ve all been talking about, that when you have your
ideas for how scenes go, you want the actor to
play it a certain way. I always get a little itchy when everything’s lining up too nicely. I want to make sure there are
some mistakes flowing around. So I always jokingly say
on the best day of my life I was right like 68% of the time. So I always throw improv in there to make sure that there’s
some collisions and accidents. And it was funny with this cast because usually when I cast people, I make sure I tell them, you
know, you’re okay with improv. I’ve worked with Ben before as an actor. We all know how that goes. But in this case, we had some
classically trained actors who just looked me straight in the eyes and told me there’s no
way I’m improvising. And sure enough, on the
day, we would get there and I would yell out, hey, try this and they would go, no! (all laugh) The whole crew would
get still for a second and I would just say we’re
rolling, you might as well. And then they would start to do it and of course they would
fall in love with it. I mean every actor does. There’s a family dinner scene that’s the birthday for Logan Roy and that’s entirely improvised. I gave everyone their own conversation they were going to have and I just did the dolly
track around the table and we just circled the
table for a full mag and did it like three times in a row and they were incredible. – Several of these stories are based on real stories from real life. Ava, Ben, Patty, I’m curious. How much are the real
people weighing on you when you’re making a
television show like this? – They weigh on me a lot. However, at a certain point,
once you really are close with the spirit of who they are and what’s important, you have to just know that
you’re doing your best. Like you can’t let it, you know, you have to make sure that you’re centered and on the right spot
and being respectful. And then I think from there, you and the actors have to say, like, we have to also be alive in this moment as long as we’re never forgetting that and becoming disrespectful. But I think about it a lot. And I also find that the responsibility is something I take super seriously at the script and the planning level and casting and all of those things. – But I know Tilly who’s
played by Patricia Arquette, had actually spoken out
that she didn’t think her portrayal was accurate. – That is correct.
(chuckles) – How do you deal with
hearing something like that? – I felt okay with it
because I felt confident in the research that we did. I don’t know what really happened in certain parts of the story and it’s not a documentary. You know, we weren’t making a documentary. But I also was pretty I think obsessive about trying to get as
much of the real story in there as possible. And I had to at a certain point make my own judgment about
certain things that happened that I personally felt
was the way it went. It might not be, but I felt secure in that because I had felt like
I’d done enough research to feel like this is what
I thought it would be. And I talked to a lot of people who were a part of that story and people who worked at the prison and you kind of have to take
all of that information, sort of synthesize it and
then make your own choices. And then you do have to then make sure that it’s actually something
that the actress can act. The actors have to make
choices about motivations and, you know, for me, the goal was to humanize the characters. They’re all people who in this story have kind of done pretty bad things and I just wanted to show them as people. Not try to apologize for them in any way, but also try to somehow make
them accessible as human beings because we’re all human beings and I think that’s why
people are interested in these stories ’cause
they are showing us part of ourselves.
– Mhmm. And Ava, I know the real men
participated in your story. Was there any discussion
with them about something they didn’t want to show or didn’t want to be part of this story or were they completely open? – They were completely open and it was imperative to me
that they be happy with this. I told them at the beginning
that there was nothing that I was going to not
include if I found it and wanted to make sure that
they were good with that before we started and
they all agreed to that. They were on set. You know, they read the scripts before. One told me the other day, I read the script and you had told me you were going to do
what you wanted to do. I didn’t know that I could say something after I read the script. I was like, yeah, no, you
could’ve, but you didn’t, so we shot that shot, that piece. But no, they were there and at one point, the
actor started to say, is my guy going to be here? Like they wanted them there. They were so much a part
of the fabric of this and that’s how the piece was built. You know, it was built to be their voice. For 30 years, the Central Park
Five were never heard from. Their confessions were coerced, the press coverage was skewed and the injustice that happened to them was really that they were silenced. And so this whole piece, you know, I did it to give them a voice so I had to honor that at every turn. The biggest reward for me, there’s nothing that can
happen with this piece because I sat in a room with those men. Been working on this since 2015. I sat in the room with these men. They wept, they embraced one another. They had a cathartic experience watching all of their stories ’cause they had been so mired
in their own personal story, but when they saw their brothers’ stories, the experience of being in that small screening room with them, I remember thinking, what else? I mean, what else is there than this? Much different than
someone where you’re like, I want to get the spirit
of these people right. Like I can’t, I’m not going to be able to get every head turned
and everything, right? But from my research, this
is what it feels good to do. This was so different. I was, you know, on pins and needles about making sure that this
was actually their experience and that they were pleased with it. – All of these projects are so ambitious. Tell me about the biggest fight you had to get what you needed. – Through my years of
doing television and film, I have definitely felt a part of the people who were
trying to scale it up and have those conversations with people who haven’t necessarily done that before and sort of saying, no, no,
we’re doing this big shot. Like this does matter. We’re not doing a cut to stolen
B camera, exterior house. We’re spending the time and
doing these bigger things. So I feel like nowadays
we’re really so much closer to people understanding that. – [Rebecca] Mhmm, David,
how about for you? Did you have to fight for
anything you really needed to make your episodes
of this second season? – Well for “Game of Thrones,” as far as fighting is concerned, it’s been a great experience
not to have to do that which is fun. And also, too, I like
limitations sometimes ’cause limitations helps
me build the world. ‘Cause if we have no limitations, then you got nothing to grab onto. I like to have limitations and to me, they’ll say, you
can do this, this and this, and then I say, okay, how
do I play in that sandbox? I can figure out how
to do that in that way. But I might need to change
something or adjust here or let’s spend a little money here, let’s spend more time here. This scene’s more important,
this isn’t as important. I can do this in less shots
or whatever that may be. So you’re always balancing it
no matter what you’re doing. – I think for me, just on our project, it was getting to shoot
up at the real prison because, you know, for budget,
it’s just always hard to go sometimes to the actual places. And for us to have access to the prison, it was such a unique location nestled inside the Adirondack Mountains, it was almost impossible to recreate and it was part of the story because these guys escape and they went out into the mountains. So as we were literally six
weeks away from shooting and we didn’t have a location secured to be able to shoot up there. And so when we finally got back, that was the biggest fight. Besides there’s always budget, you know, budget discussions. (chuckles) But to be able to have
access to that place and then for them to cooperate with us and then they gave us, you know, we were allowed to go inside the prison and then to have people
who worked at the prison be technical advisors was just to me the most valuable thing. – Did you learn anything new about sort of the prison environment that was sort of an
interesting wake up call? – Well, I mean, I learned
from “13th” a lot, you know. How bad it is and to
experience it for real, to feel the heaviness of it
to me was the biggest thing. I think, you know, sometimes the tone of something you’re making, you don’t know what it’s going to be until you’re doing it. I don’t know, like Adam, I feel like you kind of create
tone in such an amazing way. You know, I didn’t know
what it was going to be but then when I went into the real prison and walked through there, it was so heavy. It just was like, there’s no way this is going to be funny in any way. I mean, there could be
ironic humor at times, but this is not funny to me. And I can understand why,
no matter who you are, you want to get out of here. – On “Sharp Objects” and on every project, there’s always fights, but I
always on every project now I fight for a number of things of shooting and nine through six. I don’t want to shoot before 9:00am. I’m 56, I’m tired. – Wow.
– Can I come work on your set? – I didn’t even know that was possible. (all laugh) – I start at 9:00am. – Just so European.
– Oh my God, yeah. – You’re from Montreal, right? So it’s–
– It’s got to be a 9:00am call on the call sheet. If it felt nine, I’m like, I’m sorry. – Wow.
– Yeah, but, I’m a responsible filmmaker. We finish at six and I
fight for music budget. – ‘Cause this is the nature.
– This is the nature of the storytelling, putting the music in the center of the stories. And on “Sharp Objects,”
it was this music budget and we fought for Led Zeppelin, for Led Zeppelin to become
the sound of “Sharp Objects” and then we fought for “The House” to have a very specific house that became almost a character. And Amy needed to shoot in LA, so we found a house in
Northern California. It was taking place in
the south in Missouri, so we didn’t find one over there. We built the house, the
interior of the house with the porch on stage in LA and we shot the exterior
scenes in Northern California. So that was a big expense. But HBO are such great
partners, great partners and they’re aiming for quality and they know and when it’s
time to take a decision and all right, let’s put money there. – [David] “Game of
Thrones” is 10 hour days straight through, no lunch. – [Patty] That’s your, yeah, your opinion. – No lunch?
– No lunch, yeah. But of course, for people
in Whitewater and things, they’d have to start much,
much earlier of course to get through their makeup and so forth. – “Succession” was 20 hour days. No lunch.
(all laugh) I’d go to jail if we did that. No, the only, I mean you’re
totally right about HBO. They’re so incredible with that because there would have
been fights normally and the big one for us was film. Like we really wanted film. We needed that warmth for
this story of these people that live in such rarefied air. There was almost no fight. I mean, Casey was incredible,
too, with the casting. He’s like, you don’t have
to cast stars in the roles. Just cast who’s right. So mostly I ended up fighting
for “Game of Thrones.” It’s like, they need more money. (all laugh) – Give them a lunch break, come on. – Patty, you obviously brought Chris Pine back from “Wonder Woman”
for “I Am the Night.” – Yeah.
– What is it about him that you wanted to work with him again and sort of in general, what makes you have a
particularly strong bond with a certain actor like that? – I’ve had it happen with several actors who you really, you get up-to-speed and you really know that person, so you see this incredible skillset: that they’re capable, you can spin them this way and that’s fun, spin them that way. You know, Chris and I definitely have that and I also think that he has
a bunch of dimensions to him that I haven’t quite
seen him get to explore. I mean, like now at this point, I’m feeling like I just
want to keep working with so many of the same
actors ’cause it is so fun. Like I had Connie Nielsen in it, too, and you just spin her in
a whole other direction and watch this whole other side of their personality come out
and now you have shorthand. I love that. I love working with the same people. – Mhmm.
– Hey, it sounded like you said you didn’t get them? – (stammers) I didn’t get them. I didn’t get the shots. The (stammers) camera got smashed. – [Sal] You stupid son
of a bitch, you clown. You get a new camera and
you go back there, idiot. You stupid son of a–
– Sal, Sal, shut up, shut up! Just shut up, shut up. I got the pictures. I was kidding. I’m bringing them in, here I come. I was kidding. (pounding) – Ava, I know you’ve brought Storm Reid on a few projects now. What is it about certain
actors can creates that? – When you get to a place
where you barely have to say what it is that you’re doing or when you say it and they
just know it right there. I have it with David Oyelowa, I have it with Storm Reid and
I have it with Jharrel Jerome who plays Korey Wise in this. He has a whole episode just dedicated to his performance in the prison. I really, you know, work hard
to have great relationships with all of the actors. In this piece, there were 117
significant speaking parts. That was my fight. I thought, Netflix was like, I thought it was “Central Park Five.” I didn’t really think,
what’s happening here? – I lied on you, too. (light, dramatic music) – Yeah. Me too. I’m sorry, man. – They made us lie, right? – There’s some where
you just get to a place where it’s a nod of the head or you just could say (hums) and they know what you’re talking about. That kind of thing
becomes really comfortable and it allows you to think
about a lot of other things as opposed to having to
mold so carefully, so. – I think we’re almost
all learn from this school less is more. And sometimes, you know, actors
and on “Dallas Buyer’s Club” when Matthew and Jared, they
were doing more is more. And I was asking them, there’s too much movement. The hat, the cigarette, the spitting. (all laugh) I don’t know where to look, guys. (all laugh) And Matthew was telling me, well, somewhere of Texas is
movement, Mark, you know? I need stillness. I don’t know where to look. It’s funny how, you know. And then the first days of shooting, there were so big and giant performances. The DP and I, we are just,
let’s move, let’s move away. I don’t want to be close to them. (all laugh) We started, we found the distance and then they got it, Matthew got it. So he started to walk and
come close to the camera. – Of course. (laughs) – It’s crazy how it becomes a dance and we get creative on the day. It’s a small film, indie
film, not a lot of money and we found the thing and then okay, we found our way of working together and then the next day, he comes, pan. (all laugh) We respect each other, but we try to move until after a week, bang, it happened. All this to save an actor
sometimes, you know. It’s great, but. And finally, they proved me wrong. The more is more approach was
goddamn right for this film. And it was, my God, yeah. – Well it’s like syncing
up your rhythms, you know? Like between how you saw the
story and how they saw it. I mean, we had it with Jeremy Strong where there was a scene
where he’s supposed to lose everything when he’s in a bathroom. His dad has betrayed him. And because I had another movie with him, I was able to tell him like, Jeremy, we’re going to
do one take on this. I’m going to put two
people in the bathtub, two cameramen, and just go. And he just without blinking was like. And I think part of it was we knew Jeremy was that kind of actor. There are other actors who would be like, you’re basically saying there’s no net. Go for it. But because we knew Jeremy loved that, he rose to that challenge
and it’s my favorite scene in the entire episode is like him just thrashing
this bathroom a part because his dad’s betrayed him. And then yet after a beat, he
still cleans up the bathroom. He’s still got the leash
around his neck, you know? (dark, dramatic music) (glass shattering) (clinking) (stomping) (muffled screaming) (pounding) (paper ripping) It’s that trust. I mean, Christian Bale’s the funniest because first time I worked with him, he didn’t know that I did
bits, that I joked around. So it took me like weeks
to get to the point where I was like, I’m going to joke
around with Christian Bale. And there was finally this big take at the end of “The Big Short” where his character walks off set and writes on the board, plus 380%. Basically, he’s been proven right. Everyone said you’re wrong. And of course he did an amazing take. We did two takes. We did three takes. And I came up to him and
I just said, you know, Christian, we got it, but
wouldn’t it be great on one take if you just turn to the
camera and kissed your fingers and said, peace out? And there was this long pause where Christian just looks at me and goes, I don’t know if my guy would do that. And I went, I’m screwing
around with you, Christian. You could see these lights just went on and from then on it was like bits nonstop. But that’s what you get
out of, like, you know, Ava, you were talking about it with working with actors
over and over again, it becomes unsaid the
rhythm matches up quicker and it’s the best, you know? – [All] Yeah. – [Ben] And it takes a
little time sometimes if you don’t know the actors. We had an episode where we
were doing like single shots and it was like the seventh
or eighth day of shooting and it was like a long
scene where they’ve escaped and they come out of the manhole and it was like, you know, the
whole scene was in one shot and I remember Benicio coming and going, you’re going to do coverage, right? I’m like, I don’t think
we’re going to do coverage. (all laugh) And he’s like what, really? ‘Cause I think maybe you
should do some coverage. And I was like, well I
think the whole episode’s going to have these single shots. And we just started working together and you know, I could
understand as an actor ’cause I remember doing a
scene in “Royal Tenenbaums” with West Anderson where
he did a single shot and I was in it at the end of the shot and it was this emotional moment. I kept asking, like you’re
going to do coverage, you’re going to do coverage, right? And he kept on saying yeah,
we’re going to do coverage, we’re going to do coverage. And then he never did coverage. (jazz music) – Oh, it’s beautiful. – Really? – It looks like them. It looks just like them. – You know, this is just my way of saying thank you for reconnecting me with my daughter. – No, I wanted to do that for you. – We did a number of takes and we did it until he felt
like he felt good about it ’cause I wanted to make sure always that they walk away feeling good, but then you also have
to kind of let them know I think we’re going to
go for this on this thing ’cause you have to make those choices. – [Rebecca] Mhmm. – You did coverage, though, right? I mean.
(all laugh) (upbeat music) – Having both Ava and Patty here, obviously you two are both
directing also big studio movies and we sort of know how rare that has been for women to get to do. Are your choices influenced by the fact that you are a role model in this space and you are one of the few
that have gotten to do that? – For the most part, I
choose things big or small or whatever because I want
to and because I like it, because I’m into it. But definitely I have
had moments in my career on my way up which I’ve talked
about publicly some of them where there was like a big
movie I was going to do that I could tell was not
headed in a good direction and I was like, it can’t
be me, it can’t be me. If I do it, it’s going to be a huge deal that a woman did this. If a man does it, it’s not
going to be a big deal, but if it’s me, it’s a huge deal. And so I do sometimes feel. I didn’t feel it with “Wonder Woman” ’cause I thought I was the
right director at least to try. I’m a huge Wonder Woman
fan and I love the genre. So I didn’t think about it. I was like, all I can do is do my best. Doesn’t matter woman,
man, it’s not the point. But I have been thoughtful
about it in the past of like knowing okay, and I think about it when I negotiate my contract
and things like that. Like it matters, it does matter. Yeah, what do you think? – Do I think about being a role model when I choose things? No, (clears throat) it’s too hard. This is really a tough job. I got to just like it for myself. I’m tethered to these
things for years, you know? I also don’t have children. These films are my children,
these projects are my children. My name’s on this. That matters to me. This is what lives on when I’m done. And so yeah, I’m not thinking
about anybody else but myself when I choose can I be
interested in this for two years? Can I bleed for this, you
know, for years and years? So I think it’s helped me not kind of grab director for hire things because it’s so much,
like it gets so into it that it’s a very intimate
process, the choosing. And I trust myself enough to know that I’m not choosing things that are irresponsible to myself so they wouldn’t be
irresponsible to the people who might look up to
me for whatever reason. I for a long time didn’t want
to be social justice girl and found myself after “Middle of Nowhere” and in “Selma” and in “13th.” I mean get every slavery script. (all laugh) All of them. Every history script, every
first black firefighter. Like that’s a story that
deserved to be told. I mean really? So I get all of that and it’s really, for a long time, I resisted. And with this, after “Wrinkle,” all I wanted was to tell something true and something that was real and I went right back to the place that I said I didn’t want to go. So really with this I realized you are social justice girl, right? Social justice woman and
that’s okay, you know? And that’s okay, just
really get comfortable saying you’re interested in these things and whether or not they put you in a pigeon hole in the industry or you become a role model or whatever, you like this and so do it for yourself. And so that’s what I choose. – Starts there.
– Yeah. – [Jean-Marc] And choosing your film is choosing your lifestyle. – It really is.
– How are you going to, are you going to be happy
waking up in the morning, doing this and serving it? – I’m going to be happy now ’cause I’m going to start at 9:00am. (all laugh) – You bet.
– 9:00am. But see, this is the– – You’re not happy when
you wake up at five. – This is the thing, truly,
I can never say that. I feel like I can never ask that. – Why?
– None of us could by the way. That’s madness.
– I feel like I could never say– – Clint Eastwood And you,
those are the only two people who could do that. – I could never, I could
never get away with it. No one’s going to (scoffs). First of all, I would
be seen as a diva truly. I don’t work before nine. I just can’t. I think it’s your accent.
– Not if, not if– (all laugh) – It’s definitely the accent. – It’s because of your accent, man. It is. – Please, let’s talk about how you do this and let’s see.
– By the way, he’s from the Bronx. He doesn’t even act like it.
(all laugh) It’s all an act. – With social media, you can
get sort of instant reviews of your projects I think once
they go out to the world. The Arya Stark sex scene
was sort of a big discussion once that episode aired. Are you surprised when a
moment like that becomes a social media moment?
– Well it’s interesting. I’ve kind of chosen television because of the quality of the
material that I’m offered. That being a writer. So I’ve turned a lot of features down and the one that you don’t get is you don’t get the box office. You don’t get the reviews all the time. But when I did the Rains
of Castamere episode, the Red Wedding, that was an episode that once I finished it, people compiled together their reactions to the end of the episode and
it’s quite something to see that what I was doing was
affecting people in that respect. People jumping up and
down on their couches, screaming and yelling and crying. It was really quite powerful and something that I
felt like (sharp exhale) I guess I did okay. You know, when you get some things like the coffee cup on
the table or something, you know, that’s just, I’m going to say she ordered herbal tea and she got coffee, so we
thought it was safe there. – What did you feel when you saw that people spotted that
coffee cup in that episode? What was that like for you when
you saw that become a meme? – Well, I don’t know, I think
the show’s so damn perfect in many respects that people
love to find the blemishes and it’s just a little,
you know, nonsecular that doesn’t really mean
or matter anything at all. – It’s a good sign that people
went through frame by frame to find that coffee cup. – Yes, absolutely.
– Yeah, totally agree. – So true.
– How do the rest of you deal with the social media
reactions to your projects? Do you check it out, do
you try to ignore that? – I’ll check it sometimes
and then I’ll turn off for long periods of time. Like it’s been funny
on this “Wonder Woman,” I’ve just not checked in at all. Well there’s nothing I can
do on making the movie. But then, you know,
when the show came out, I definitely check in and see
how people are receiving it as it comes out, but then
I stop at certain points. – [Ben] I’ve never had the
experience of doing a series except like sketch series
like a long time ago where it was on every week. And so that was really interesting to me to be able to see the engagement with it which is obviously, “Game of Thrones,” it’s like on the highest level, but to see how people interacted with it and that connection that they
have which is really personal and then it was fun to
actually be able to interact with some people on
Twitter about the show, especially because it
was about something real. And so I delve into that
and enjoy the experience, but I also find I have
to be really careful and not get too deep into it. – What is a movie or a TV
show that you feel like any aspiring director should see? – I would say “The X-Files” because it was really the
first show of it’s kind that dealt with extreme
possibilities out there that people didn’t really
realize was possible. And setting it in a real world tone. It definitely was really well done. And it was just the look of the show and the tone of the show was something that I
thought was a real pioneer. – Jean-Marc?
– TV show I would say “Soprano” and mister here directed it.
– I was about to say that. (giggles)
Yeah, that’s definitive. – [Jean-Marc] It’s like how to create the best character-driven,
emotional-driven TV series where you just get in
and you’re sucked into it and you love the characters and you’re not supposed to love them. Their ethic, they kill people. – But he loves his family and he loves his people that care for him. – [Ava] Yeah, the first
thing that came to mind wasn’t a film or TV
show, it was “Hamilton” because for me, I think
anyone that’s watching it should look at breaking all boundaries and reframing the word possibility. I mean, you’re watching this material that’s being played by
these people in this way. It broke every rule and it
was extremely successful and for me, it’s all the work
that I did pre-“Hamilton” and after “Hamilton” for me. It really changed my
view of creating work, that there are no boundaries. You’re not bound by history,
you’re not bound by gender, you’re not bound my skin color. You’re bound by nothing as a creator. And so that piece for
me is what I would say that anyone that’s writing or directing or making any creative work around story should take a look at. – The first movie that came to my mind was “Dog Day Afternoon” for me. It’s just one of those films where, I mean, you look at that movie
and it’s all about character. The tone is defined by the characters. It’s not a comedy, it’s not a drama. The way that he put it together, the trust that he had to just
tell the story, no music. I think it’s, you know–
– It’s one of the great ones. – The greats.
– Yeah. – You should also look at the respect. I did this TCM essentials thing and it was one of my films that I chose, one of the 20 films I chose. And you look back at what Matt was doing with the trans character at the time. I mean, the respect that he showed. He treated that
relationship with full love and with a very serious eye at a time when no one was, you know, really grappling with those things. It’s genius. Read the book, make your movies. – Patty.
– The one that just came to mind was, I asked my grandmother and she had answered “The
Best Years of Our Lives.” I was like, oh great, Grandma, cool. And when I watch that movie and it’s because I just told somebody. I was like, you have to see it. It was one of the first times I think that something like war was looked at in such an incredibly interesting way. It actually rocked my world ’cause I was like,
they’re using real people with injuries from war and they’re actually stopping
and making you look at it in this incredibly fresh
and interesting way. I mean there’s so many
it’s hard to choose, but that’s one that I’m
like, you have to see it. – I would say “Election”
for me is a movie. What I like about “Election” is it deals with very heavy themes in a very light way and I think it’s narrative
structure is so interesting how it uses practical narration
to tell this elaborate story that’s really about America. It kind of looks like a teen comedy if you’re not paying attention. But that movie is, it’s intimidating how
well done that movie is. – What advice would you
have given your younger self on your very first day on set? – Don’t smoke. (all laugh) Honest to God, that would be it. – [Ava] I don’t know, relax. I mean, you know, I was so, so petrified. It was an independent film for $50,000. This is like people talking in rooms. You don’t need a shot list. You know what I mean? Like everything was shot this, I don’t shot list now, either, everything is shot listed, everything is story boarded. I mean, I was so terrified
of just shooting this that I just overdid it, overcovered. It’s two people talking, Ava. Just calm down. I’m getting hands, I’m getting, you know, just making sure and so it’s just to relax and kind of feel the story. Just be in the story and be
a part of what’s happening in the room and feel that story. The camera is your performance, right? So just making sure that
you’re in with the actors in a way that’s not so
planned down to the moment. Unless you’re doing a
big beach battle scene for three weeks. – I think that’s such an important thing, what you just said. Like I feel like that’s something I just recently started
to really become aware of. Just feeling being there with the actors. ‘Cause a lot of times
I’ve directed and acted. In this one, I had so much
more of an appreciation for what the actors were doing and I realized my role
was just to be there and to somehow get into
it somehow with them so that I could tell it in the right way but just be in there with them and feel it and that would somehow help
the vibe of the whole thing. – I think having faith in
one’s self is important. That you have to believe in yourself. That you’re there for a reason. You got the opportunity, so now go do it. You know? We beat ourselves up too much. – [Patty] That reminds me. What I was going to say, I wish I could say to myself is, I was always passionate
about making the films I wanted to make and nothing
got in the way of like, I knew that I wanted to do it, but I wish I could say to myself, this is going to be so much
more fun than you think. You know because now I love it. Like I genuinely, like the joy
that you get in those moments where something magic happens and like I think I didn’t even think that was going to happen. In the beginning, I was
like, I want to do it and it’s a duty and it’s fine and now sometimes I’m just so, I’m like I can’t believe
I get to do this right now with these people and like wow, how fun, you know, to see that life. Not always fun. (all chuckles) But sometimes. – Right.
– Yeah. – Jean-Marc? – Similar, relax, don’t overdo it, don’t overdo it with the
camera, with the shots, with the writing, with the locations ’cause that first film, I was more of a mover than a director. So many locations, it was so annoying. (all chuckles) Every day we had three locations. We’re on the truck moving
and I had like two hours to make like 16 shots and I
have to move there, you know? It was hell. Yeah. Relax and relax with your everything, your writing. Shh. I guess it takes time and we’re so ambitious at the beginning. We want to do this. We love the job, what a great job. – Mhmm.
– Mhmm, yes. – Telling stories with this
art form, with this medium. – We love doing it and so you’re so excited
to be there doing it which is great and that’s
what gets you there, that’s how you get there. – Sure.
– But I think yeah, for me, like thinking back, I was like, I’d probably tell myself you know so much less
than you think you know. (giggles) And that just comes with, I think, age. – [Ava] Yeah. – Adam, are you sticking with don’t smoke? Do you want to add anything?
– I was going to ask if you smoked. You’re the one guy who could
probably start at 9:00am with cigarettes. Well I think actually don’t smoke mirrors what they’re saying
about relax and enjoy it. I think that’s kind of what it is is like, you know, I love your
answer about how fun it is. And that’s really what it is. When you’re smoking, you’re
kind of choking down stress. And I actually got to do
my first feature with Ben. And by the time you came on the set, we were having a great time. We were laughing every day. You were there on the craziest day of the entire movie.
– Crazy, yes. – I think we did like 80 setups with like three different units going, but we still were having
like a lot of fun. But the first couple weeks, like what Ava was saying exactly. It’s just like you’re overthinking it and once you let that flow
happen, it’s the best. So that equals don’t smoke, yeah. – Yeah, makes sense. – But did you have that when
you went in the first time? Thinking I just want to have fun, I want to make sure this
is fun for everybody? – Halfway through, I realized
it was some and keep in mind, we were doing “Anchorman.” So it was like halfway through, you just couldn’t help it. We were laughing so much
and the group was so cool. And it was so ludicrous. It was the opposite of professional. I mean the movie was
designed to be ridiculous, so–
– Because intentionally you wanted to kind of go in
there and break some rules. – [Adam] It was like almost a joke on making movies in a way.
– Right. – [Adam] That’s why we were able to relax by the end that much. But yeah, that was a blast.
– That one was fun. – You seemed to have fun
with the latest one, too. – [Adam] Yeah, we definitely, if you’re going to do the
darkest tale there is, you better have a little
fun in the middle of it. Like who was it? Niels Bohr said some
subjects are so serious they have to be told comically. And I think that was kind of Dick Cheney’s so we definitely goofed
around with that a little bit. Yeah, I think everything,
you know, it’s playfulness. There’s a plate of this whole forum that I think is exciting. Do you smoke? – I used to. – [Adam] Ah, I knew it. (all laugh) – Well I was 15-25. I’m 56, so it’s been a long time. – Oh, you’re in good shape.
– It’s been a long time. But I was smoking like crazy at that age. – I used to smoke two
packs a day while shooting. – Are you serious?
– Wow! – [Patty] Constantly. I’d go between menthol and
regular if my throat hurt. (all laugh) Monster, we smoked a lot. – [Jean-Marc] No fog machine. The director is the fog machine. – It was appropriate
to the subject matter. Sharlise and I were both just. – What was the brand? What were you smoking?
– Marlboros. – Oh, damn.
– It was hardcore. – That is hardcore. – And then I quit. (laughs) – Adam, I wanted to ask you a question. I had to ask this question. From your comedic starting point to your first, I wouldn’t
say serious film, but your first film, that was such a wonder as a director to get a chance to see that, see the different side of you. It was wonderful. It was just such a dream to see, you know, what else was in there. Was it wonderful to let that out? – Yeah, I think, you know, it was a case where that was just a story that, you know, like
everything we’re talking about, you just get taken over by the story. That’s what’s fun about this. It’s what is that story that’s going to make you
almost skip to set every day, where you’re like, I
know I should be here. There’s no worse feeling than like someone else
could be doing this. But I’ve always been a fan
of just films in general. I don’t think of things in terms of genre and you know, I love dramas,
I love comedies, we all do. So I got very lucky with that story, there’s no question.
– I mean, more than luck I’m sure, but it was just a treat. – Well guys, I feel like you all could grill each other for another hour, but I just want to
thank you all for coming and having this discussion today. It was really wonderful. (upbeat alternative music)


  1. kinG iZZy Author

    I am a fan of Ava but I wonder when she will start using her talent and status in Hollywood to FINALLY TELL THE STORIES OF BLACK WOMEN.
    That is ALL that i ask.
    It sucks when all u see are male narratives.

  2. scampoli25 Author

    Ava is such a hypocrite, she will pretentiously ramble on about how invested she must be in these stories then will shamelessly talk about being "social justice girl" and taking whatever project that will keep her in the business. She knows her talent is limited and is exploiting the popularity of diversity in media to cash in while she can despite having nothing to say.

  3. FocusPulling (.com) Author

    Love the moment at 12:20 when the moderator asks whether anyone stepped into a project and thought "I'm not ready for this": camera intuitively cuts straight to Ava Duvernay whose face says "I'm not going there."

  4. Sircumsczixszyo Author

    i'm sure she would have thought of family and friends if turbulence kept getting worse.
    but she had time to make sure she had her business in order.

    another great interviewer from this channel

  5. Logan G Author

    how do you guys have such a hard time finding someone who can just read the cards and let the conversation unfold naturally. im 90% sure this lady would be cancer to hangout with irl. just get a podcast host or YouTube personality for the day.

  6. KS Author

    lol get fucking real here……Patty Jenkins is most famous for directing Wonder Woman which isn't a tv show. Adam McKay is most famous for directing The Big Short (oscar nomination) which again isn't a tv show. Ava DuVernay is most famous for directing Selma (oscar nominated) which isn't a tv show either……..This is as stupid as say having a panel with oscar winners and have Suiside Squad represented…….

  7. Dallas Dan Digital Productions Author

    Great THR vid. What a spectacular group of talent tonite! Im a huge fan of Adam's Vice and The Big Short. I cant wait to see Pattys Wonder Woman sequel . She did such an amazing job with the 1st one 👍❤

  8. Veno Bender Author

    Game of Thrones, When They See Us, Ben Stiller and Patty "Wonder Woman" Jenkins? Yea…I'll be coming back to this later soaking it all in lol These interviews seem to be getting better and better

  9. Pram De Rooy Author

    I think alot of movies that have been released would have worked better as a series.valerian and the city of a thousand planets is one example of that.When they see us,great series btw,saw the documentary years ago.

  10. Vincent Barnard Author

    Doesn't have anything to do with this, just wanted to say Joe Dante's Jaws 3 was gonna be titled "Jaws 3, Humans 0." Sorry just learned that and it's too cool not to share it in the closest comments section to me.

  11. Zoë Bearam Author

    I really like this moderator. She let the conversation flow and guided it unobtrusively. The opposite of that old guy. I forgot his name but unfortunately, no matter who the interviewees are, I can’t watch when he moderates. 😣 What a breath of fresh air to really get to focus on the directors and hear them out.

  12. fem wynn Author

    old white guy: hey I never thought that actors playing roles where they are treated so horribly for long periods of time would benefit from counseling in between takes…………….ugh of course not. that is why more POC need to be behind the scenes in addition to in front of the camera…..

  13. Thr 33 Author

    David Nutter said that Game of Thrones was nearly perfect 🤬 Why are people at the table Kissing his ass🤡 The final season sucked

  14. Sebastian Celia Author

    I thought cliffhangers came from Arthur Conan Doyle and when he (and others) published their work on a weekly basis, and in one of the papers Winston was literally hanging on a cliff …

  15. Noirel-Goldberg Théo Author

    Is this humanly possible and acceptable to resist Jean-Marc Vallée??!!He certainly knows how to put his actors at ease before digging the very nasty and dirty stuff..

  16. Noirel-Goldberg Théo Author

    Ava DuVernay seems to be very keen with integrity. Her project to help through empathy people rebuild is simply beautiful. Made me think a bit of Oprah Winfrey's touch with less tears and business like brand…

  17. Ocean Sage Author

    Jean-Marc Vallee is a genius for Young Victoria, Dallas Buyers Club, Wild, Big Little Lies, & Sharp Objects!

    I appreciate Ben Stiller as a director after Reality Bites. I'm glad to see Vallee & Stiller are so thoughtful.


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