Rather than try to distill any of the dozens of interviews we liked from today and over the weekend, we’re just going to list them and pull our favorite quote. You can do the rest.
In alpha order:
Bridges read for the role several times after making a strong impression with [Don] Cheadle, who also is a producer on the project. "As soon as Don saw that first raw tape, he said it doesn’t matter if he’s losing lines or this and that, this guy is a star," ["Crash" producer Cathy] Schulman says. "The camera loves Chris, and it was very much at Don’s urging that he got cast."
To get into character, Brody would ask to be strapped into the
straitjacket and left in the morgue drawer even when the cameras weren’t rolling. "It was painful and I kind of encouraged that pain. It helps me be connected and if I feel connected there’s a better chance that the audience will feel connected. Some of the crying when I’m in the box wasn’t even scripted. John let the cameras run and wanted me to lose it, and I did."
"I was a young teenager and I didnâ€™t have a car and I was grounded a lot, so I would watch a lot of Z Channel and I’d get to watch R-rated movies and foreign films and all this stuff that wasnâ€™t available to
people my age. It was a huge thing in Los Angeles."
"There are at least two kinds of scary movies," says Connelly, sipping Earl Grey tea at a small table in Soho House. "There’s the idyllic kind: You’re in the woods, running, and no one can see you. No one can hear you scream."
And then there’s our kind.
"The horror of true urban loneliness," Connelly calls it. "When you feel like you should actually be quite safe, because youâ€™re surrounded by thousands and millions of people. But actually everyone turns a blind eyeâ€”and something happens to you on the subway."
The conventions of Hollywood filmmaking come in for playful treatment in Mr. Roos’s films. "Happy Endings" has a lot of on-screen chapter titles, reminiscent of a silent movie. "I love porno films, which have a lot of signage in them," he said. "It puts it in the audience’s face that this is a story and not something real, that this is artifice, so there’s not that tension to try and shoot it in a way that looks real."
"We had two very good reviews from Slant Magazine and Philadelphia City Paper. They were both positive, but chided me over the exact same line of dialogue where Susanâ€™s ex-boyfriend Tomasz hears Bobby describe his play and says, ‘Let me give you one piece of advice. Don’t make your main character a writer. It’s a bit of a clichÃ©.’ One of the writers called it an unnecessary preemptive strike against criticism, and the other said it was an apology in a movie that had nothing to apologize for."