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But they never talked about the motive [in the Amanda Knox case], or the girl who lost her life and future, and her family, and what they lost. The reporters talked about the gossip, which is what sold. Thomas finds that impossible to do, to go along with her. The reason I thought it would be good to have that layer [of a filmmaker character] is so I could look at the levels of journalism.

We are aware of the issues in the film. A problem in journalism is that they will criticize defendants, politicians, et cetera, as if they are exempt. Journalism is not self-reflective. They will slag off on people to make funny articles. I am making a film about telling a story that clarifies that it is a story—you are being made aware a story is being told.

To see it happen on TV and not do anything about it was shocking. Journalists represent all of us, and they are in a position that is closer to a situation. Making a film is important to show the role of a witness. Most journalists were feeling we should intervene in Sarajevo. That was where journalism got emotionally involved, and it was important to think about that and what we want from the world. What have you observed?

Conversations With Filmmakers Series by Andrew Dickos

The journalists are running round to get pictures and write about what Amanda was wearing. All the journalists we met with saw the film and felt it was very accurate in depicting their behavior covering the case. He is also accused of having a midlife crisis. What are your thoughts on that and how the character is likely a thinly veiled stand in for you as a filmmaker?

The film is written for an English actor. He made me feel comfortable, making sense of the characters in a way that I thought made sense. I thought it would be interesting to work with him. I find that disturbing. All the news is about crime and violence. Do you feel you can shed light on the situations the characters encounter in a new way? Why do people keep reading about and watching this story?

But why do people spend so much time reading crime stories?

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The idea is to explore questions of justice and truth and guilt. There are lots of interesting elements. I find such bad behavior compelling and revealing. Why do these things appeal to you? He is being self-indulgent. They are two halves of same coin. No one gets anywhere lying in bed. When you are working on something, it gives you ideas for other things you want to make.

You are expected to get up and go to work every day. The process of getting up and working generates questions. Something keeps you interested in it. So, you try to make it, and keep it as simple as possible. You try to find a way to film the story as simply as possible and have it be intimately connected to how people really behave.

George A. David Lynch.

Conversations with Michael B. Jordan

Orson Welles. Charlie Chaplin.

Michelangelo Antonioni. Steven Spielberg. Francis Ford Coppola. John Ford, film director. Clint Eastwood. Brian De Palma. Jim Jarmusch. George Lucas. Alfred Hitchcock. Fred Zinnemann. Jean-Luc Godard. Spike Lee.

Michael Winterbottom interview: 'It's not hard to make one film a year'

Oliver Stone. Andrei Tarkovsky. Martin Scorsese. How do series work? Series: Conversations with Filmmakers Series by cover 1—8 of 89 next show all. Akira Kurosawa: Interviews by Akira Kurosawa. Alfred Hitchcock: Interviews by Alfred Hitchcock. Andrei Tarkovsky: Interviews by Andrei Tarkovsky.

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Buster Keaton: Interviews by Buster Keaton. Charlie Chaplin: Interviews by Charlie Chaplin. Clint Eastwood: Interviews by Clint Eastwood. Griffith — not in English Common Knowledge. David Lynch: Interviews by David Lynch. Errol Morris: Interviews by Errol Morris.

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