12.19.18

Robert Zemeckis Discusses Directing "Welcome To Marwen"

When a devastating attack shatters Mark Hogancamp (Steve Carell) and wipes away all memories, no one expected recovery. Putting together pieces from his old and new life, Mark meticulously creates a wondrous town where he can heal and be heroic. As he builds an astonishing art installation—a testament to the most powerful women he knows—through his fantasy world, he draws strength to triumph in the real one. In a bold, wondrous and timely film directed by Academy Award-winning director Robert Zemeckis, "Welcome to Marwen" shows that when your only weapon is your imagination…you’ll find courage in the most unexpected place.

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>>> THANKS, EVERYBODY. WELCOME TO BUILD. I'M YOUR HOST RICKY CAMILLERI. OUR NEXT GUEST HAS MADE SOME OF THE MOST VISUALLY INVENTIVE, INNOVATIVE, BEAUTIFUL FILMS OF ALL TIME. FROM “BACK TO THE FUTURE” TO “FOREST GUMP,” HE HAS INNOVATED BOTH STORY AND IMAGE TO BRING TO LIFE IDEAS WE NEVER THOUGHT POSSIBLE. AND HIS NEW FILM “WELCOME TO MARWEN,” HE TELLS THE STORY OF MARK HOGAN CAMP, AFTER BEING BRUTALLY ASSAULTED RETREATS INTO A WORLD OF WORLD WAR II DOLLS AND PHOTOGRAPHY. HE SEAMLESSLY BLENDS EVERYTHING WE LOVED ABOUT HIS WORK OVER THE DECADES INTO ONE FILM, FUNNY, DAZZLING AND PRETTY HEART FELT. LET'S LOOK AT THE TRAILER FOR “WELCOME TO MARWEN.”

>> “WELCOME TO MARWEN” IS THE MOST ORIGINAL FILM OF THE YEAR.

>> WHAT HAPPENED TO YOU?

>> I GOT BEATEN WITHIN AN INCH OF MY LIFE BECAUSE I WAS DIFFERENT.

>> SOME NAZI FEDS JUMPED HIM.

>> SO I CREATED A WORLD WHERE I CAN BE ANYONE I WANT.

>> THESE ARE THE WINNER OF MAR WIN.

>> AREN'T THOSE PEOPLE YOU KNOW?

>> YEAH. THERE'S --

>> YOU CAN'T KEEP ON RUNNING AWAY.

>> JULIE. ROBERTA.

>> BACK OFF.

>> AND NICOLE.

>> I JUST MOVED IN ACROSS THE STREET.

>> THIS IS KIND OF A BRAVER VERSION OF ME. WE'RE ONE IN THE SAME, PAL.

>> MARWEN!

>> I THOUGHT I HEARD YOU YELLING FOR MORE GUMBO.

>> NOT GUMBO, NO GUMBO!

>> THIS CHRISTMAS.

>> THE ONLY WAY YOU'RE GOING TO GET BETTER IS IF YOU FACE THOSE JERKS WHO BEAT YOU UP.

>> BASED ON AN INSPIRATIONAL TRUE STORY.

>> I DON'T KNOW HOW TO DO THIS.

>> OF A MAN WHO TURNED TRAGEDY.

>> I GOT YOU. YOU HAVE TO EMBRACE THE PAIN.

>> INTO TRIUMPH.

>> I HAVE MY ART, I HAVE MY FRIENDS. I HAVE HOPE. THAT'S SOMETHING THEY CAN'T TAKE AWAY FROM ME.

>> HELL YEAH!

>> BOTTOMS UP, GIRL. \M \M

>> FROM THE GROUNDBREAKING DIRECTOR OF “FOREST GUMP.”

>> DON'T JUST IMAGINE YOURSELF AS A HERO. BE ONE IN REAL LIFE.

>> WELCOME TO HOME.

>> YOU ARE SAFE.

>> WELCOME TO HEALING.

>> TO LIFE, TO LOVE, TO MARWEN.

>> WELCOME TO MARWEN.

>> PLEASE WELCOME THE GREAT ROBERT ZEMECKIS!

>> THANK YOU. [ APPLAUSE ]

>> SIR, THANK YOU SO MUCH FOR BEING HERE.

>> MY PLEASURE.

>> IT IS AN HONOR TO HAVE YOU ON THE STAGE. YOU MADE SOME OF THE FILMS I GREW UP WITH, AN ADULT WITH, MOVIES PEOPLE WILL CHERISH FOREVER. THANKS SO MUCH FOR BEING HERE.

>> MY PLEASURE.

>> WHAT INTERESTED YOU IN DOING THIS MOVIE? I TOLD YOU BACK STAGE THAT ONE OF THE THINGS THAT I WAS SO KIND OF BLOWN AWAY BY WAS IT FELT LIKE EVERYTHING -- IF FELT LIKE ALL THESE ELEMENTS FROM ALL OF THESE MOVIES OVER THE YEARS SORT OF COMBINED INTO ONE TO THE POINT WHERE EVEN YOU HAD TO REFERENCE IT AT ONE POINT IN THE MIDDLE OF THE MOVIE.

>> EXACTLY, I THINK YOU'RE RIGHT ABOUT THAT. WHAT I LOVED OBVIOUSLY, I COULDN'T BELIEVE THIS WAS A TRUE STORY. I THOUGHT THAT THIS, THIS AMAZING HEALING JOURNEY THAT MARK HOGAN KEMP WENT ON FASCINATED ME. I WAS ALSO REALLY TAKEN WITH HIS ABILITY TO USE ART, YOU KNOW, THE HEALING POWER OF ART OR THE HEALING POWER OF HIS IMAGINATION TO HELP HIMSELF THROUGH THIS TRAUMA AND TO MAKE SENSE OF ALL THIS STUFF THAT HAPPENED TO HIM.

>> AND THAT STARTS WITH THE DOLLS AND THE ANIMATION. AND CAN YOU TALK ABOUT CREATING THAT ANIMATION? YOU KNOW, YOU'VE DONE STUFF LIKE THIS BEFORE, BUT THERE WAS SOMETHING ABOUT THIS, I DON'T THINK I'VE EVER SEEN THIS PARTICULARLY ON SCREEN.

>> NO, THIS IS NEW. IT WAS DONE WITH PERFORMANCE CAPTURE, SO IT WASN'T REALLY ANIMATION. IT WAS AN ADVANCED PERFORMANCE CAPTURE, SOMETHING THAT, YOU KNOW, IS PRETTY NEW, I MEAN VERY NEW. WE INVENTED IT FOR THIS MOVIE. IT ACTUALLY CAPTURES EVERYTHING ABOUT THE ACTOR'S PERFORMANCE. AND THEN IT'S TRANSLATED ONTO THE COLOR THE CG DOLL AVATAR, AND THE ACTORS MOVE IT COMPLETELY.

>> THE ACTORS ARE MOVING THE DOLLS AS WELL?

>> EVERY SINGLE ONE, ABSOLUTELY, YEAH.

>> OBVIOUSLY YOU HAVE NOTHING ANIMATED BEFORE THE ACTORS DO THE MOTION CAPTURE, RIGHT?

>> NO, NOTHING. WE KIND OF LAYOUT, YOU KNOW, THE SETS FOR THEM AND WHAT IT'S GOING TO LOOK LIKE. AND THEN WE STEP INTO WHAT WE CALL THE VOLUME, WHICH IS WHERE WE -- ALL THESE RECEPTORS THAT RECORD WHAT THE ACTORS DO IN 3-D, AND IT'S KIND OF LIKE BEING ON A VERY SIMPLE STAGE. WE JUST DO -- WE DO THE SCENES LIKE WE'RE DOING BLACK BOX THEATER.

>> CAN I ASK, WHAT DO YOU ENJOY MORE, WHEN YOU'RE SHOOTING SOMETHING LIKE THAT AND THEN YOU GET TO ANIMATE IT? IT SEEMS TO ME LIKE YOU HAVE FULL CONTROL OVER EXACTLY HOW IT GOES. OR WORKING WITH ACTORS AND BEING ON A SET, OR BEING ON A LOCATION WHERE A LITTLE BIT HAS TO BE LEFT UP KIND OF CHANCE?

>> YEAH, THERE'S A LITTLE BIT -- WELL, YES, RIGHT. WHEN YOU'RE SHOOTING, YOU KNOW, WITH LENS CAMERAS IN A TRADITIONAL MOVIE SENSE, THERE'S WONDERFUL THINGS THAT CAN HAPPEN. THERE CAN BE A BEAUTIFUL SUNSET THAT JUST HAPPENS TO BE THERE AT THE MOMENT THAT YOU'RE GOING TO ROLL THE CAMERA. AND I CAN COUNT THINGS THAT HAPPENED TO ME IN MY CAREER ON ONE HAND WHERE THAT HAPPENED. USUALLY IT'S THE OTHER WAY. USUALLY WHAT HAPPENS IS --

>> YOU'RE MISSING THE SUNSET BECAUSE IT'S GOING DOWN AND YOU HAVE TO GET SOMETHING --

>> AND THEY NEVER GET THE CAMERA OFF THE TRUCK IN TIME AND IT'S THAT KIND OF THING. BUT IN PERFORMANCE CAPTURE, YOU DO -- YOU GET TO HAVE THE WONDERFUL, YOU KNOW, ACCIDENT PERFORMANCE THINGS THAT HAPPEN THAT THE ACTORS BRING, AND YOU DON'T HAVE TO WORRY ABOUT WHETHER IT WAS IN FOCUS OR NOT. IT'S CAPTURED, IT'S THERE, AND YOU'LL HAVE IT. IF AN ACTOR DOES A FANTASTIC LINE READING ONCE AND YOU CAN NEVER GET IT BACK AGAIN, YOU'VE GOT IT. AND YOU CAN MAKE THAT INTO A CLOSE-UP OR YOU CAN MAKE THAT INTO A WIDE SHOT, YOU CAN MAKE IT INTO WHATEVER YOU NEED AS A FILM MAKER. SO IT DOES GIVE THE DIRECTOR MORE CONTROL, WHICH I DO LIKE.

>> DO YOU GET A LITTLE LET DOWN WHEN YOU HAVE TO GET OUT OF THE PERFORMANCE CAPTURE BOX AND YOU HAVE TO BE THROWN UP TO THE -- THROWN INTO THE WILD AGAIN?

>> NO, IT'S -- YES, I MEAN, IT'S LIKE, YOU KNOW, WHEN YOU'RE MAKING A MOVIE TRADITIONALLY WITH LENSES, LENS CAMERAS, YOU HAVE TO THINGS OUT OF CONTINUITY. YOU HAVE TO WORRY ABOUT THE LIGHT. YOU HAVE TO WORRY ABOUT THE ACTORS HITTING THEIR MARKS, ALL THAT STUFF IS SORT OF, YOU KNOW -- IS -- I CALL IT THE TIERNEY OF PRODUCTION. YOU GET USED TO IT, THAT'S WHAT YOU DO. BUT IN PERFORMANCE CAPTURE, IT'S JUST ABOUT TALKING TO THE ACTORS ABOUT PERFORMANCE. THAT'S ALL YOU DO. AND IT'S LIKE, LITERALLY LIKE DOING THEATER. THEY PACE THE SCENE. THEY ACT TOGETHER, AND ALL DAY LONG ON THE SET, ALL YOU DO IS ACT, AND THEY PERFORM BECAUSE YOU DON'T HAVE TO WORRY ABOUT ANYTHING ELSE. YOU DON'T HAVE TO DO ANYTHING ELSE. YOU DO EVERYTHING CONTINUITY, DO THE SCENES FROM BEGINNING TO END. IT'S REALLY COOL.

>> THAT'S FASCINATING BECAUSE I THINK THAT OFTEN THERE IS A MISUNDERSTANDING OF DIRECTORS AND WHO -- NOT NECESSARILY PREFER, BUT DO MOTION CAPTURE MORE, IS THAT THEY'RE LESS FOCUSSED ON PERFORMANCE FOR SOME REASON. IT SOUNDS TO ME LIKE YOU'RE MORE OF A THEATER DIRECTOR, YOU GET MORE TIME TO WORK WITH PERFORMANCE VIA MOTION CAPTURE.

>> YOU ACTUALLY DO. AND YOU DON'T HAVE TO BREAK IT UP. THAT'S WHAT I LOVE ABOUT IT. IT'S JUST ALL THERE AND YOU'VE GOT THAT WONDERFUL ENERGY OF WHAT THE CAST IS BRINGING AND HOW THEY DO THE SCENE.

>> RIGHT. THERE'S NO LIKE RELIGHTING, REPOSITIONING. SO, GO BACK TO THE CHARACTER AND THE REAL HUMAN BEING, MARK HOGAN CAMP. ONE OF THE THINGS I LOVE ABOUT THIS FILM IS IT'S A FAMILY MOVIE, BUT WITH THE MESSAGE OF ACCEPTING SOMEONE THAT I DON'T THINK WE'VE EVER SEEN BE ACCEPTED IN A FAMILY MOVIE BEFORE, SOMEONE WHO IS FLAWED AND LEARNS TO WORK THROUGH THEIR FLAWS, AND THEIR FLAWS ALSO BEING IN SOME WAYS -- IF WE'RE JUDGING HIM AT TIMES, CREEPY, YOU COULD SAY, IN HIS WAY OF WORKING THROUGH THAT. CAN YOU TALK ABOUT WORKING THROUGH THOSE TONES? HOW DO YOU PUT THOSE THINGS INSIDE OF A FAMILY MOVIE?

>> YEAH, WELL, I THINK -- WELL, I THINK YOU CAN DO IT AND YOU JUST HAVE TO BE TRUTHFUL TO WHAT'S GOING ON AND TO HOW -- THAT WAS MY FIRST RESPONSIBILITY, IS TO BE TRUTHFUL TO MARK HOGAN CAMP WHO THE STORY IS BASED ON AND HIS JOURNEY. BUT, YEAH, I THINK THE THINGS THE MOVIE SPEAKS ABOUT, THE THEMES OF THE MOVIE ARE VERY RELEVANT TODAY, AND I THINK THAT THEY'RE THINGS THAT PEOPLE SHOULD TALK ABOUT. THERE WAS NO REASON TO NOT MAKE IT A MOVIE FOR FAMILIES, IF YOU WILL. I MEAN, YOU KNOW, IT'S, IT'S WHAT'S GOING ON IN THE WORLD AND I REALLY DIDN'T -- AND THERE WAS NEVER ANY -- NEVER GOT ANY PUSH BACK FROM THE STUDIO OR DID I EVER THINK FOR ONE MINUTE IT WOULD BE SOMETHING WE COULDN'T PRESENT IN THE MOST HONEST WAY POSSIBLE.

>> SO, THAT'S CRAZY, THERE WAS NEVER A MOMENT WHERE YOU WERE LIKE -- I WON DOCTOR ALL THE TIME WHEN IT COMES TO FILM MAKING AND STORYTELLING HOW MUCH YOU CAN PRESENT, WHAT YOU CAN PRESENT, WHERE TO HOLD BACK, ESPECIALLY WITH SOMETHING LIKE A FAMILY MOVIE AND A STORY LIKE THIS, BECAUSE HIS IS ONE OF DEPTH. IT'S NOT LIKE HE'S STRUGGLING TO WIN THE BASEBALL GAME.

>> RIGHT. WHEN IT COMES TO DOING A FAMILY MOVIE, OR IN THIS CASE IT'S A PG-13 -- I'M NOT SURE 5-YEAR-OLDS WOULD UNDERSTAND THIS MOVIE. I TAKE A BOOK OUT OF WALT DISNEY -- I TAKE A PAGE OUT OF WALT DISNEY'S BOOK, THE REAL WALT DISNEY. HE MADE HIS FAMILY MOVIES FOR ADULTS, YOU KNOW. THAT'S WHAT I DO. I DON'T EVER THINK THAT, YOU KNOW, YOU SHOULD TALK DOWN TO YOUNG PEOPLE. I MEAN, THEY GET EVERYTHING ANYWAY, SO I JUST -- YOU KNOW, OBVIOUSLY WE HAVE THINGS YOU CAN'T DO CERTAIN THINGS THAT ARE NOT GOING TO WORK IN A RATING, BUT IN A PG-13 MOVIE, I JUST TALK TO EVERYBODY LIKE THEY'RE AN ADULT.

>> YEAH. AND THE CHARACTER IS STRUGGLING WITH HIS RELATIONSHIP WITH WOMEN, HOW HE RELATES TO WOMEN, HOW HE PUTS THEM UP ON A PEDESTAL, AND HOW HE DOESN'T ACTUALLY INTERACT WITH THEM AS HUMAN BEINGS, WHICH IS SUCH A FASCINATING, I THINK, BRAVE STORY TO TELL IN A MOVIE LIKE THIS. WAS THAT SOMETHING THAT ATTRACTED YOU TO THE STORY?

>> YEAH. I MEAN, YOU KNOW, HE'S -- YOU KNOW, THE MOVIE SPEAKS -- HAS A MAJOR THEME ABOUT FEMALE EMPOWERMENT, AND HOW, YOU KNOW, WHAT MARK DOES IS, YOU KNOW, WOMEN WHO ARE IMPORTANT IN HIS LIFE, HE, YOU KNOW, THEY'RE HIS -- BASICALLY THEY'RE HIS PRO  -- PROTECTERS AND HIS GUARDIANS. THEY AREN'T JUDGMENTAL. HE HONORS THEM BY CREATING THESE FASHION DOLLS IN HIS WORLD AND HE DRESSES THE DOLLS TO BE SIMILAR TO THE WOMEN WHO HE'S -- IN REAL LIFE WHO HE'S CREATING AN ALTER EGO FOR, IF YOU WILL. YOU KNOW, I LOVE THAT PART OF HIS STORY. THAT WAS HIS, YOU KNOW, HE CALLS THEM HIS BACKUP IN THE MOVIE. HE NEVER GOES ANYWHERE WITHOUT HIS BACKUP. IT'S THIS GROUP OF WOMEN THAT HE BRINGS WITH HIM IN THEIR ALTER EGO DOLL FORM.

>> AND AT ONE POINT HE SAYS THEY'RE SAVIORS OF THE WORLD.

>> WELL, HIS ALTER EGO SAYS THAT, CAPTAIN HOGIE SAYS THAT.

>> IN HIS WORLD.

>> HE SAYS, YOU KNOW, GLOBALLY, WOMEN ARE THE SAVIORS OF THE WORLD, ABSOLUTELY.

>> AT THE BEGINNING OF THIS INTERVIEW I SAID THIS MOVIE ENCAPSULATES A LOT OF HE WILL EMS FROM YOUR WORK OVER THE YEARS. ONE OF THEM IN PARTICULAR IS A DIRECT REFERENCE TO MOVIES OF YOURS.

>> YEAH. SO, IF YOU'RE A BACK TO THE FUTURE FAN --

>> OF COURSE. DO NOT GET OUT OF THE BUILDING.

>> IF YOU'RE NOT A BACK TO THE FUTURE FAN, THERE IS A MAJOR COOKIE IN THIS MOVIE AND IT'S AS CLOSE TO BACK TO THE FUTURE AS YOU'RE EVER GOING TO GET WHILE I'M ALIVE. LET ME PUT IT THAT WAY. [ LAUGHTER ]

>> THAT'S NEVER HAPPENED. I SAW IT RECENTLY WHERE YOU SAID THIS NEVER HAPPENED.

>> EXACTLY. WE HAVE A LITTLE BIT OF --

>> OVER YOUR DEAD BODY, A REMAKE IS OVER YOUR DEAD BODY?

>> LITERALLY. AND BOB GAYLES. AFTER WE'RE DEAD, THEY'LL PROBABLY DO A REMAKE.

>> I'M SURE.

>> BUT I WON'T CARE. BUT THIS THIS MOVIE, THERE'S A MAJOR, MAJOR -- NOT THAT BIG -- THERE IS A NOD TO THAT, TO THE TRILOGY.

>> AND WHAT MADE YOU -- WHAT MADE YOU DO THAT? WHAT MADE YOU FEEL COMFORTABLE DOING THAT?

>> WELL, I'LL TELL YOU ABSOLUTELY, THERE IS A MOMENT THAT COMES IN THE STORY WHERE OUR HERO -- OUR HERO'S ALTER EGO IS ORDERED TO BUILD THE TIME MACHINE.

>> YEAH.

>> AND, YOU KNOW --

>> WHY NOT?

>> I FIGURED, WELL, THERE'S ONLY ONE WAY -- THERE'S ONLY ONE WAY THAT ANYONE IN TODAY'S WORLD WOULD UNDERSTAND WHAT A TIME MACHINE SHOULD LOOK LIKE, YOU KNOW? AND I JUST WENT FOR IT.

>> WAS THERE ANY, WAS THERE ANY HESITATION ABOUT IT OR ANY SELF-CONSCIOUSNESS OF DIPPING IN YOUR OWN WORK OR BEING SELF-REFERENTIAL?

>> I THOUGHT TO MYSELF, WHAT CAN I DO ABOUT DID? I THOUGHT IF I TOOK MAYBE A DOZEN STRANGERS OFF THE STREET AND ASKED THEM THAT QUESTION, I KNOW WHAT ANSWER I WOULD GET IF I SAID -- IF YOU WERE TO BUILD A TIME MACHINE, WHAT DO YOU THINK IT WOULD LOOK LIKE? I KNOW WHAT THEY WOULD SAY. THEY'D SAY IT PROBABLY LOOKS LIKE A FLYING CAR. SO I'D HAVE TO, YOU KNOW, I FIGURED THAT THAT'S BECOME THIS CULTURAL THING. AND I SAID, LIKE I SAID EARLIER, I JUST WENT FOR IT.

>> LESLIE MANN DELIVERS A REALLY BEAUTIFUL PERFORMANCE IN THE MOVIE. IT'S VERY TEXTURED AND LAYERED. IT'S A PERFORMANCE OF A PERSON WHO HAS REAL DEPTH IN HUMANITY. WHAT MADE YOU CAST HER? THAT SOUNDS LIKE I'M SAYING SHE DOESN'T HAVE THAT, BUT SHE DOES. BUT WHAT MADE YOU CAST HER?

>> WELL, I CAST HER BECAUSE SHE'S A MAGNIFICENT ACTRESS. BUT SHE ALSO -- SHE ALSO HAS THE QUALITIES AND SPECIFICALLY THE COMEDIC QUALITIES THAT ALL MY CAST NEEDED, AND HER VERY SPECIFICALLY, TO BE ABLE TO TRANSITION TO THE DOLL. SO, YOU KNOW, IT TAKES A CERTAIN PERFORMANCE OR AN ACTOR UNDERSTANDING -- AND I THINK IT COMES FROM COMEDY -- FOR HALF THE MOVIE TO SAY, YOU'RE A FASHION DOLL. AND YOU'VE GOT TO MAKE THAT WORK. AND SO SHE WAS ABLE TO DO BOTH. AND SHE'S, YOU KNOW, IN THE MOVIE SHE DID IT PERFECTLY. THAT WAS MY THINKING WHEN I OFFERED HER THE PART.

>> WHEN YOU AUDITIONED PEOPLE, DID YOU -- DID THEY AUDITION AS THE DOLL OR DID THEY AUDITION AS THE OTHER CHARACTERS? OTHER VERSIONS OF THEMSELVES? EXCUSE ME.

>> THE LEVEL OF THE CAST I HAVE IN THE MOVIE, THEY DON'T AUDITION. BUT, BUT WHAT YOU DO, THOUGH, WHAT YOU DO DO, THOUGH, YOU LOOK AT THEIR BODY OF WORK. I SAY, WELL, THEY HAVE THIS ACTRESS OR THIS ACTOR HAS THE QUALITIES THAT I NEED FOR THIS CHARACTER. AND THEN THAT'S WHAT YOU BASE YOUR DECISION ON.

>> YOU ALSO HAVE LITERALLY ONE OF MY FAVORITE ACTRESSES IN THE MOVIE, MERIT WEAVER. I THINK SHE’S INCREDIBLE. I'M HOPING THIS AND THE NETFLIX SERIES SHE MADE LAST YEAR WILL PROPEL HER TO THE LEVEL OF STARDOM SHE DESERVES.

>> ABSOLUTELY. SHE'S AN UNBELIEVABLE ACTRESS, SHE'S MAGNIFICENT. EVERYTHING SHE DOES IS LIKE -- SHE GIVES YOU SO MANY CHOICES AND THEY'RE ALL GOOD AND THEY'RE ALL RIGHT AND IT'S FANTASTIC. I MEAN, SHE CAN JUST -- MAKES ANYTHING WORK.

>> WHAT HAVE YOU SEEN HER IN THAT MADE YOU CAST HER IN THE FILM?

>> I ACTUALLY SAW HER IN NURSE JACKIE. THAT'S WHERE -- THAT'S WHERE I SAW HER FOR THE FIRST TIME. WHEN I SAW HER IN THAT, YOU KNOW, I WAS LIKE, WHOA, SHE'D BE PERFECT FOR THIS CHARACTER IN MY MOVIE. BUT I HAD BEEN WATCHING HER -- MAYBE I WAS KIND OF LIKE EVEN WRITING A CHARACTER WITH HER IN MIND, IF I REALLY WANT TO BE HONEST ABOUT IT.

>> REALLY? YOU THINK MAYBE YOU DIDN'T KNOW IT AT THE TIME?

>> I DIDN'T KNOW WHETHER SHE WOULD DO IT OR NOT. WHEN YOU'RE WRITING, YOU KNOW, ACTUALLY HOW IT HAPPENS, YOU KIND OF HAVE SHADOWS OF ACTORS THAT -- ANYWAY, IN MY MIND I DO. I FEEL LIKE -- BUT IT'S INTERESTING, A LOT OF THEM ARE DIFFERENT ACTORS SHOW UP SAYING DIFFERENT LINES. SO I DON'T REALLY HAVE ONE ACTOR IN MY MIND COMPLETELY.

>> SO, YOU HAVE -- THIS IS INTERESTING. YOU HAVE A SHADOW OF AN ACTOR BUT THEY MIGHT STILL SHOW UP AND DO IT DIFFERENTLY THAN YOU HAD ASSUMED --

>> HOPEFULLY.

>> -- HAD WRITTEN IT?

>> HOPEFULLY THEY'RE GOING TO BRING A LOT MORE TO IT AND ENHANCE IT. THAT'S WHAT I LOVE ABOUT WORKING WITH MAGNIFICENT ACTORS, BECAUSE THEY CAN DO A TURN ON A LINE THAT YOU NEVER IMAGINED, AND IT'S LIKE, WOW, THAT'S GREAT. THAT'S THE WHOLE PROCESS THAT MAKES IT SO WONDERFUL.

>> CAN I ASK YOU A FILM MAKING 101 QUESTION?

>> PLEASE.

>> WHAT DO YOU DO WHEN YOU HAVE AN ACTOR WHO DOESN'T KNOW HOW TO DO THAT AND DOESN'T DO THAT?

>> IT'S USUALLY A DAY PLAYER, IT'S USUALLY A DAY PLAYER WHO IS SO THRILLED AND EXCITED TO BE DOING THE MOVIE, AND THEY'RE GOING TO COME IN AND WORK FOR ONE DAY. AND THEY'VE BEEN WORKING ON THAT SCENE FOR ABOUT, YOU KNOW, 30 DAYS. AND YOU AND THE WHOLE MAIN CAST, YOU'VE GOT A SHORTHAND GOING, EVERYBODY'S CLICKING, EVERYBODY KNOWS, AND THIS ACTOR SHOWS UP AND HE DOES HIS FIRST TAKE AND HE'S IN A COMPLETELY DIFFERENT MOVIE.

>> RIGHT.

>> AND THEN 90 PEOPLE TURN AND LOOK AT ME AND SAY, OKAY, YOU'RE THE DIRECTOR, PAL. WHAT ARE YOU GOING TO DO? NOW WHAT ARE YOU GOING TO DO? SO YOU HAVE TO TAKE HIM ASIDE OR HER ASIDE, AND JUST KIND OF, YOU KNOW, DE-PROGRAM THEM AND WORK THEM THROUGH IT BECAUSE YOU CAST THEM FOR THE RIGHT REASON. THEY JUST DIDN'T HAVE -- THEY DIDN'T HAVE THE ADVANTAGE OF BEING WITH THIS WHOLE TROUPE THAT'S BEEN GOING THROUGH THIS PROCESS.

>> AND THEY SHOWED UP WITH A LOT OF IDEAS --

>> THEY SHOW UP WITH A LOT OF IDEAS -- YOU KNOW, JUST A COMPLETELY DIFFERENT IDEA OF WHAT THE CHARACTER OR WHAT THE TONE OF THE MOVIE IS OR WHATEVER THAT PROBLEM MIGHT BE.

>> YOU KNOW, SO ONE OF THE PERFORMANCES WE HAVEN'T TALKED ABOUT YET IS OBVIOUSLY STEVE CARELL, ONE OF THE BEST HE'S DONE AS A DRAMATIC ACTOR. WAS STEVE IN MIND WHEN YOU WERE WRITING THIS?

>> HE WAS, EXACTLY THE SAME THINKING THAT I HAD ABOUT THE REST OF MY CAST. I NEEDED SOMEONE WHO HAD THE ABILITY TO DO BOTH. WHEN I SAW HIM IN "FOX CATCHER” IT BLEW ME AWAY. THIS GUY CAN DO ANYTHING. HE WAS ABLE TO DO THIS PERFORMANCE WAY BETTER THAN I EVER, EVER IMAGINED. HE'S SUCH A GREAT ACTOR.

>> "FOX CATCHER" UNDER RATED PERFORMANCE, IN MY OPINION.

>> YEAH, BUT A REALLY COOL ONE, BUT A VERY UNDER RATED -- YEAH. SO OBVIOUSLY THAT'S WHAT I WAS SEEING AND WHAT I WANTED IN THIS MOVIE, TOO, YOU KNOW? YEAH.

>> JUST A PERSON WHO IS A FEW HAIRS OFF.

>> BUT I'LL GIVE YOU MY OWN PERSONAL OPINION AS A FILM DIRECTOR. I THINK, IN MY OPINION, ALL THE GREAT DRAMATIC ACTORS ALWAYS COULD DO COMEDY.

>> 100 %?

>> 100%. YOU CAN REALLY FEEL IT IN THEIR DRAMATIC WORK AND THE ONES THAT WERE NEVER ABLE TO DO COMEDY, THEY'RE JUST NOT AS GOOD AS THE ONES WHO CAN.

>> I WOULD AGREE 100%. I THINK OF EVEN DRAMATIC ACTORS WHO AREN'T KNOWN FOR DOING COMEDY AND ARE STILL VERY FUNNY IN THEIR DRAMATIC ROLES. JOAQUIN PHOENIX IS A HILARIOUS ACTOR TO WATCH BUT HE NEVER DOES COMEDY.

>> EXACTLY. I THINK THE REASON THAT WORKS, AT THE END OF THE DAY, WE'RE MAKING A MOVIE.

>> HE'S HAVING FUN.

>> WE'RE MAKING A MOVIE. IT'S NOT LIKE WE'RE, YOU KNOW, WE'RE JUST GOOFING AROUND.

>> WHEN DID YOU, WHEN DID YOU DISCOVER THAT AS A DIRECTOR? NOT NECESSARILY THE THING ABOUT DRAMATIC ACTORS. THERE IS SUCH A PRESSURE IN MAKING MOVIES, RIGHT? EVEN IF YOU'RE DOING A DRAMA, MAYBE IT'S YOUR FIRST DRAMA. THERE IS A PRESSURE ABOUT HOW DRAMATIC YOU ARE ON SET. DIDN'T MATTER, YOU NEED TO BE LIGHT AND HAVE FUN.

>> OBVIOUSLY, YOU KNOW, I WAS FORTUNATE BECAUSE I WAS ABLE TO, YOU KNOW, I NEVER -- I ALWAYS -- YOU KNOW, I DIDN'T -- IN ALL THE MOVIES THAT I MADE THAT WERE COMEDIES, I NEVER CAST ANYONE WHO WAS A COMEDY ACTOR. I ALWAYS CAST ACTORS WHO WERE PRETTY GOOD AT DOING DRAMA, EVEN THOUGH THEY DID A LOT OF COMEDY. BUT AS I WAS WATCHING MOVIES, YOU KNOW, KIND OF COMING UP IN THE CRAFT, AND MY FAVORITE ACTORS, I WOULD FIND -- EVEN IF I WAS NEVER WORKING WITH THEM, I WOULD SEE THEM DOING SOMETHING MAGNIFICENT, THEN I'D SEE THEM ON A TALK SHOW AND THEY'RE REALLY FUNNY. I'M GOING, YEAH, OKAY, I'M STARTING TO MAKE THE CONNECTION.

>> SOMEONE WHO KNOWS HOW TO HAVE FUN --

>> SOMEONE WHO KNOWS HOW TO HAVE FUN, EXACTLY.

>> LET'S GET SOME QUESTIONS FROM THE AUDIENCE.

>> I'M A HUGE FAN. MY NAME IS ERIC CAMERON. BACK TO THE FUTURE IS ONE OF MY FAVORITE FILMS, INSPIRES ME EVERY DAY. THROUGHOUT YOUR CAREER YOU'VE BEEN ONE OF THE GREATEST PIONEERS IN THE INDUSTRY. WITH EACH ONE OF YOUR FILMS YOU UTILIZE NEW FILM MAKING TECHNIQUES. MY QUESTION FOR YOU TODAY IS WHAT IS THE MOST IMPORTANT TECHNIQUE YOU'VE USED DURING YOUR CAREER YOU WOULD LIKE TO PASS ON TO THE NEXT GENERATION OF FILM MAKERS AND WHAT TYPES OF MOVIES WOULD YOU LIKE TO SEE UTILIZE THESE TECHNIQUES?

>> WHAT WAS THE LAST PART?

>> WHICH KIND OF MOVIES WOULD YOU LIKE TO SEE UTILIZE THE TECHNIQUES YOU PICKED UP OVER THE YEARS?

>> THIS IS GOING TO SOUND A LITTLE PRETENTIOUS, BUT MY FAVORITE VISUAL EFFECT IS A CLOSE UP. THAT'S SOMETHING YOU CAN'T USE IN REAL LIFE. I KNOW WHERE YOU'RE GETTING WITH THE QUESTION. I'M BEEN A PIONEER IN DIGITAL CINEMA AND IN PERFORMANCE CAPTURE, AND I THINK THAT THAT'S A MAJOR TOOL THAT'S GOING TO BE USED IN THE FUTURE. AND I THINK IT'S KIND OF REALLY WONDERFUL THAT, YOU KNOW, FILM MAKERS, WE'RE GETTING CLOSE -- THEY CAN CREATE ALMOST ANY IMAGE PERFECTLY THAT LOOKS PHOTO REAL. AND SO I THINK THAT IT'S GOING TO BE REALLY EXCITING WHAT FILM MAKERS IN THE FUTURE ARE GOING TO BE ABLE TO DO BECAUSE THEY'LL BE ABLE TO JUST CREATE ANY IMAGE. AND I THINK WHAT'S GOING TO BE THE MOST EXCITING ABOUT THAT IS THAT THE TECHNIQUE OF CINEMA WILL VANISH AND IT WILL ALL COME BACK DOWN TO STORY AND CHARACTER BECAUSE NO ONE WILL PAY ANY ATTENTION TO WHAT WE NOW CALL VISUAL EFFECTS, BECAUSE ANYBODY WILL BE ABLE TO DO THEM.

>> SO IT WILL BE SOLELY ABOUT WHETHER OR NOT YOU CAN TELL A GOOD STORY?

>> EXACTLY. IT'S GOING TO GO COMPLETELY -- YOU KNOW, COMPLETELY BACK TO THAT. THE GREATEST, MOST INTERESTING EXAMPLES I HEARD ABOUT IS WHEN ART MOVED FROM PAINTING AND FRESCO TO ACRYLIC PAINT AND SORT OF LIKE FOR MAYBE LIKE, YOU KNOW, FOR ABOUT 80 YEARS WE'VE BEEN MAKING MOVIES LIKE WE'RE PAINTING IN FRESCO. NOW WE'RE GOING TO HAVE ACRYLIC PAINT. THAT'S GOING TO OPEN UP ART FORM UP TO EVERYBODY.

>> WAS THERE ANYTHING THAT WAS EVER LOST FOR YOU WHEN YOU MOVED FROM FILM TO DIGITAL? WERE YOU EVER ONE OF THE NOLAN TYPES WHO WERE KIND OF LIKE, SORT OF A CHAMPION OF 35 MILLIMETER FILM? DID YOU FEEL LIKE YOU LOST ANYTHING?

>> NO.

>> GOOD FOR YOU.

>> AS A MATTER OF FACT, ONE THING NOBODY EVER TALKS ABOUT IS, YOU KNOW, THANK GOD WE DON'T HAVE TO USE ALL THOSE CHEMICALS ANY MORE AND POUR THEM INTO THE ENVIRONMENT TO PROCESS ALL THAT FILM. YOU KNOW, I MEAN, IT WAS PRETTY TOXIC STUFF. BUT I DON'T MISS, I DON'T MISS -- I MEAN, IT WAS GREAT WHEN THAT'S ALL WE HAD, WAS THIS 100-YEAR-OLD PHOTO MECHANICAL PROCESS OF MOVING, BUT I DON'T MISS IT.

>> YOU DON'T CHECK THE GATE?

>> I DON'T MISS IT AT ALL. OR YOUR WHOLE DAY'S WORK WAS BURNED UP IN A LAB.

>> DID THAT HAPPEN TO YOU?

>> NO, IT DIDN'T HAPPEN TO ME, BUT I DID HAVE A WHOLE ROLL OF NEGATIVE GET COMPLETELY LOST IN THE LAB, WHERE WE COULDN'T FIND, COULDN'T FIND, COULDN'T FIND AN ENTIRE ROLL OF FILM. IT JUST GOT LOST. IT WAS NEGATIVE, SO IT HAD TO GO IN AND USE ALTERNATE TAKES TO FINISH THE MOVIE.

>> THE WORST STORY I EVER HEARD ABOUT THAT WAS THE FILM SODERBERGH PRODUCED. I CAN'T REMEMBER THE DIRECT HE RECALLS. MAJ KERRIGAN.

>> BEING ABLE TO GO IN THE THEATER AND HAVE A ROCK STEADY IMAGE, WE DON'T HAVE TO MOVE THE PROJECTOR. I LOVE THE DIGITAL CINEMA.

>> LET'S GET ANOTHER QUESTION HERE. HI.

>> HI. I ADMIRE YOUR WORK. AS AN I ASPIRING FILM MAKER, WHAT WAS THE FIRST PROJECT YOU EVER WORKED ON, AND WAS IT ABOUT PRODUCTION OR POST PRODUCTION?

>> YOU'RE TALKING ABOUT MY FIRST MOVIE I EVER DID?

>> UH-HUH.

>> THE FIRST MOVIE I EVER DID WAS "I WANT TO HOLD YOUR HAND.”

>> SOON TO BE RELEASED ON CRITERION IN MARCH.

>> EXACTLY RIGHT. THEY'RE DOING A WHOLE BIG BLUE RAY THING. IT'S GOING TO BE GREAT! AND MY FAVORITE PART OF THE PROCESS IS POST PRODUCTION, IS EDITING. I JUST LOVE THAT. I THINK IT'S THE WRITER IN ME -- I ALWAYS FEEL LIKE -- I THINK THE MAIN DECISIONS, THE BINARY DECISIONS THAT YOU MAKE IN A MOVIE ARE IN PRE-PRODUCTION. YOU KNOW, SELECTING THE SCRIPT, CASTING THE MOVIE, DECIDING WHAT THE CREW IS GOING TO BE. THOSE ARE WHAT THE -- THOSE ARE THE MOST CRUCIAL DECISIONS, AND THEN THE REST IS -- WELL, THEN, PRODUCTION FOR ME IS JUST SURVIVAL, YOU KNOW, JUST GET THROUGH THE DAY. JUST GET SOMETHING THAT I CAN CUT TOGETHER. YOU KNOW, IT'S THAT KIND OF -- IT'S THAT KIND OF FEEL. I JUST GOT TO GET THE MOVIE SHOT. BUT THEN MY FAVORITE PART IS POST-PRODUCTION BECAUSE THIS WHOLE ARMY OF ACTORS AND TECHNICIANS FUNNELS DOWN TO JUST ME, MY EDITOR, AND MY -- AND MY -- WELL, I'LL CALL IT FILM. BUT MY RAW MATERIAL. AND I JUST LOVE THAT BECAUSE THEN I GET TO RE-WRITE THE MOVIE, BUT WITH LIMITATIONS, BUT WITH THE IMAGE THAT I SHOT. AND IT'S COMFORTABLE, AND I CAN DO IT IN MY SANDALS, AND I DON'T HAVE TO BE IN THE FREEZING COLD IN THE MIDDLE OF THE NIGHT. AND I JUST LOVE THAT PART OF THE PROCESS.

>> EVEN AT THIS LEVEL OF FILM MAKING WHERE, FOR ALL INTENTS AND PURPOSES I ASSUME YOU GET WHAT YOU WANT WHEN YOU GO INTO PRODUCTION OR AT LEAST YOU KNOW HOW TO PRE-PRODUCE WELL ENOUGH SO WHEN YOU'RE IN PRODUCTION YOU'RE NOT LOSING MATERIAL OR NOT SHOOTING EVERYTHING YOU NEED. DO YOU STILL FIND IN POST-PRODUCTION MOMENTS OF FRUSTRATION, I WISH I HAD SHOT THIS A DIFFERENT WAY OR GOTTEN MORE?

>> I'M HARD -- I THINK MOST FILM MAKERS ARE HARD ON YOURSELF. YOU KIND OF -- YOU KNOW, YOU WALK AWAY FROM THE DAY'S WORK AND YOU JUST THINK, MAN, DO I HAVE ENOUGH TO EVEN MAKE THIS SCENE WORK? SOMETIMES YOU DON'T. SOMETIMES IT'S -- YOU KNOW, IT DOESN'T GO TOGETHER AS YOU HAD HOPED.

>> REALLY?

>> YEAH, YEAH. AND YOU HAVE TO -- YOU KNOW, YOU HAVE TO STRUGGLE TO MAKE IT WORK AND YOU HAVE TO REALLY, LIKE -- SOME THINGS YOU HAVE TO REALLY SUFFER OVER TO MAKE THEM WORK.

>> DO YOU STILL CRY AT ASSEMBLY CUTS?

>> OH, YEAH. WELL, YEAH, CRY TO THE POINT WHERE YOU MIGHT WANT TO EVEN BE SUICIDAL. YES, ABSOLUTELY. BUT I DON'T DO -- FOR SOME REASON, I DON'T DO LONG, GIANT ASSEMBLIES. I CUT REALLY, REALLY, REALLY TIGHT. BUT, YEAH, WHEN I LOOK AT THE MOVIE FOR THE FIRST TIME, IT'S LIKE, WHAT WAS I THINKING? NOTHING WORKS. THIS WHOLE THING IS A DISASTER. IT'S SUCH AN INTERESTING PROCESS AND, YOU KNOW, THE ONE THING YOU CAN'T DO AS A FILM MAKER IS EVER SEE YOUR MOVIE WITH ANY OBJECTIVITY.

>> YOUR EDITOR IS THERE FOR ESSENTIALLY, HE CAN --

>> BUT HE'S ONLY -- RIGHT. SO YOU HAVE TO RELY ON HIM FOR WHEN HE SAYS, YOU KNOW, WHEN I SAW THESE DAILIES, I ALWAYS THOUGHT THAT WAS THE BEST TAKE, YOU KNOW? AND HE'S GOT TO REMEMBER THAT. YOU HAVE TO RELY ON HIM FOR THAT, ABSOLUTELY.

>> ONE MORE, A COUPLE MORE, I THINK. HI.

>> HOW ARE YOU DOING? I WAS WONDERING WHAT ABOUT "BACK TO THE FUTURE GOT YOU INTERESTED IN THE PROJECT?

>> SAY THAT AGAIN?

>> WHAT GOT YOU INTERESTED IN THE PROJECT TO START INITIALLY.

>> WELL, I WAS INTERESTED IN THE PROJECT BECAUSE I WROTE IT WITH MY PARTNER BOB GAYLE. AND WE HAD THIS I GUESS, YOU KNOW, WE WERE GRACED WITH THIS MOMENT OF INSPIRATION AND CAME UP WITH THE STORY ABOUT -- BASICALLY IT WAS ONE SENTENCE. WHAT WOULD IT BE LIKE IF YOU WERE IN HIGH SCHOOL AND YOU WENT BACK IN TIME AND SAW YOUR PARENTS IN HIGH SCHOOL? AND THAT WAS THE GERM OF THE IDEA, AND WE THOUGHT, HEY, THAT COULD BE COOL. THEN WE STARTED DEVELOPING AND DEVELOPING AND DEVELOPING IT. SO I HOPE I ALWAYS GET TO DIRECT THE MOVIES THAT I WRITE, BUT YEAH, THAT'S WHAT INTERESTED ME IN THAT IDEA.

>> WHEN YOU WERE WRITING "BACK TO THE FUTURE" -- THIS WILL GO TO ALL OF YOUR FILMS IN WRITING THEM -- HOW OFTEN DID YOU HAVE TO LOOK BACK ON THAT GERM OF THE IDEA AS A FORM OF INSPIRATION OR AS A WAY TO SORT OF STICK TO WHAT THE MOVIE IS ABOUT? BECAUSE EVEN JUST THINKING ABOUT IT NOW, THAT IS WHAT "BACK TO THE FUTURE" IS ABOUT. A LOT OF OTHER THINGS, BUT THAT IS THE CORE OF THE MOVIE.

>> THAT'S A GREAT QUESTION. THAT IS, THAT IS THE WRITER'S DILEMMA AND THAT IS THE FILM MAKER'S DILEMMA BECAUSE THERE ARE SO MANY THINGS THAT GET -- START TO GO OUT OF CONTROL IN THIS PROCESS THAT WHEN I WAS MAKING "BACK TO THE FUTURE" AND I WAS DIRECTING IT AND MY WRITING PARTNER BOB GAYLE WAS PRODUCING IT, THERE WERE SO MANY TIMES WHERE WE ACTUALLY SAID THAT TO EACH OTHER AND SAID, LOOK, LET'S REMEMBER WHAT THIS MOVIE IS ABOUT, RIGHT? WE SAID, WHAT WAS THE THING WE THOUGHT WAS ALWAYS GOING TO WORK, AND GET BACK TO THAT, BECAUSE MOVIES ARE -- THEY'RE DYNAMIC. THEY GO OFF ON ALL DIFFERENT TANGENTS. YOU KNOW, YOU HAVE TO KEEP REINING IT IN EVEN IF YOU START TO HAVE DOUBTS ABOUT YOUR INITIAL INSTINCT. YOU HAVE TO SAY, LOOK, THE REASON WE'RE MAKING THIS MOVIE IS WE LOVE THIS IDEA. AND WE HAVE TO STICK WITH THAT, AND YOU JUST GOT TO GO WITH THAT INITIAL INSTINCT.

>> WHAT WAS THE IDEA FOR WELCOME TO MARWIN?

>> I SAW THE DOCUMENTARY AND HIS LIFE STORY WAS -- BUT THERE WAS THE TWO IDEAS TO "WELCOME TO MARWIN.” ONE, I LOVED THIS INCREDIBLY TRUE STORY ABOUT THIS MAN WHO WAS ABLE TO TAKE TRAGEDY AND TURN IT INTO TRIUMPH, NOT TO SOUND LIKE A TRAILER, BUT THAT'S EXACTLY WHAT HAPPENED. BUT I ALSO LOVED THIS IDEA OF THE HEALING POWER OF ART AND CREATIVE IMAGINATION, BECAUSE I THINK IT'S A UNIVERSAL IDEA. I THINK WE ALL NEED THAT CREATIVE, THAT CREATIVE OUTLET TO MAKE SENSE OF COMPLICATED THINGS THAT WE'RE FEELING OR THINGS THAT ARE HAPPENING IN OUR LIVES. I THINK I IDENTIFIED WITH THAT AND THAT'S WHAT I LOVED ABOUT THE STORY MORE THAN ANYTHING.

>> WITHOUT GIVING ANYTHING AWAY, WHAT I LOVED ABOUT THE FILM IS HIS MOMENT OF TRIUMPH IS ONE OF INCLUSIVITY. FOR ALL AS WELL. IT'S NOT JUST HIM. WINNING THE GAME, IT'S ABOUT ACCEPTANCE OF ALL PEOPLE.

>> EXACTLY.

>> ONE MORE QUESTION.

>> HEY, ROBERT. SO GREAT TO MEET YOU. YOU'RE DEFINITELY ONE OF MY FAVORITE DIRECTORS. ESPECIALLY AT THIS TIME OF YEAR, WITH “THE POLAR EXPRESS” WHICH FOR ME IS 100 MINUTES OF PURE NOSTALGIA, AND ONE OF THE CENTRAL MOTIFS IS WONDER AND PART OF “BACK TO THE FUTURE” -- IT ESCAPED ME --

>> FOREST GUMP?

>> FOREST GUMP DEFINITELY. IT SEEMS TO BE A CENTRAL THEME FOR YOU, WONDER. IS THAT CONSCIOUS FOR YOU OR HOW DO YOU INJECT WONDER INTO A PROJECT?

>> I THINK IT'S MORE SUBCONSCIOUS THAN ANYTHING -- I DON'T TRY TO IMPOSE THAT ON THE, ON THE FILM, BUT, YOU KNOW, I JUST TRY TO -- YOU KNOW, I GUESS WHAT I DO IS I JUST SORT OF TAKE WHATEVER I FEEL IS THE UNDERLYING HEART OF THE STORY, AND THEN TRY TO MAKE -- USE IMAGES TO TRY TO MAKE THAT AS INTERESTING AS I POSSIBLY CAN. AND I THINK THAT'S WHAT MOVIES DO. MY FAVORITE, MY FAVORITE QUOTE IS FROM FRANCOIS TRUFEAUX, A PERFECT MOVIE IS A BLEND OF TRUTH AND SPECTACLE. SO WHAT I LOOK FOR IN MOVIES, I LIKE THE STORY THAT IS ROOTED IN HUMAN TRUTH. AND THEN I THINK MY RESPONSIBILITY AS A FILM MAKER IS TO, IS TO PRESENT THAT IN THE MOST INTERESTING, ENTERTAINING AND SPECTACULAR WAY SO THAT -- WE GO TO MOVIES TO SEE SPECTACLE. AND A LOT OF TIMES THE SPECTACLE IS JUST A GREAT PERFORMANCE. BUT IT IS A MASS ENTERTAINMENT THAT WE LOVE TO SEE, AND THAT'S SORT OF HOW I APPROACH ALL THE MOVIES I MAKE.

>> DO YOU HUNT FOR THOSE LITTLE MOMENTS OF WONDER FOR THE MOVIE AS WELL? ARE YOU CONSCIOUS AWARE OF THAT? SAYING FOREST GUMP, I THINK OF THE FEATHER, THE FLOATING FEATHER. THE SCORE, THE THEME PLAYS THROUGHOUT THAT. IS THAT SOMETHING -- I DON'T REMEMBER, WAS THAT IN THE BOOK OR WAS THAT SOMETHING YOU FOUND TO TIE THIS TOGETHER AND CREATE A REAL SENSE OF WONDER FOR THE MOVIE?

>> YEAH, NO. I THINK, I THINK IT CAME FROM -- THERE WAS A LINE -- THERE WAS A LINE LATER IN THE MOVIE WHEN FOREST IS TALKING TO JENNY'S GRAVE AND HE TALKS ABOUT HOW, YOU KNOW, I DON'T KNOW IF WE'RE ALL JUST FLOATING AROUND ON A BREEZE OR IF WE'RE ALL -- IF WE ALL HAVE A DESTINY. AND THAT FLOATING AROUND ON THE BREEZE LINE MADE ME THINK THAT, OH, YEAH, KIND OF LIKE A FEATHER FLOATING AROUND ON A BREEZE. AND SO THAT'S WHY, YOU KNOW, I THOUGHT I SHOULD BOOK END THE MOVIE WITH AN IMAGE LIKE THAT. IT'S A BEAUTIFUL LITTLE MOMENT IN THE SCRIPT THAT ERIC ROTH WROTE.

>> YEAH. BEFORE I LET YOU GO, I'M CURIOUS, A FILM MAKER LIKE YOU WHO HAS MADE SO MANY MOVIES OVER THE YEARS, DO YOU REMEMBER WHAT YOUR TOUGHEST MOVIE TO MAKE WAS?

>> PHYSICALLY?

>> YEAH, OR MENTALLY, WHICHEVER ONE YOU REMEMBER --

>> THEY'RE ALL MENTALLY TOUGH TO MAKE, BUT THE TWO, THE TWO MOST PHYSICALLY TOUGH MOVIES THAT I MADE WERE “ROMANCING THE STONE,” AND "CAST AWAY.”

>> RIGHT.

>> THEY WERE TOUGH. AND I ACTUALLY -- WHEN I FINISHED -- WHEN I FINISHED DOING "ROMANCING THE STONE," I SAID TO MY AGENT, IF A SCRIPT EVER COMES ACROSS YOUR DESK THAT HAS A SLUG LINE THAT SAYS EXTERIOR, JUNGLE, NIGHT, RAIN, DON'T EVER GIVE IT TO ME. HE ACTUALLY HAD -- I HAD AN ARTIST PAINT THAT SLUG LINE AND PRESENT IT TO ME AS A PAINTING, YOU KNOW? SO, BUT YEAH, SO THOSE WERE JUNGLE WORK IS TOUGH. WATER IS TOUGH.

>> DO YOU REMEMBER WHAT THE HARDEST FILM WAS TO PUT TOGETHER, LIKE YOU'RE IN POST PRODUCTION AND YOU'RE KIND OF LIKE STRUGGLING TO FIGURE OUT EXACTLY HOW TO PUT THE WHOLE THING TOGETHER?

>> "ROGER RABBIT" PROBABLY. THAT WAS A COMPLICATED -- THAT MIGHT BE THE MOST -- BACK IN THE DAY WHERE WE NEVER HAD A SINGLE COMPUTER, THAT WAS A COMPLICATED LOGISTICS MOVIE TO PUT TOGETHER.

>> PAINSTAKING, I WOULD IMAGINE.

>> YEP, EVERY -- EVERY FRAME HAD TO BE HAND DRAWN, YEP.

>> NOW WITH WELCOME TO MARWEN, FORTUNATELY YOU HAVE MOTION CAPTURE.

>> FROM A TECHNICAL STANDPOINT -- YOU MENTIONED IT FOR THE WHOLE MOVIE, WHICH I THINK -- I NEVER EVEN THOUGHT OF, BUT DEFINITELY FROM A -- I DID THINK WHEN I WAS MAKING THIS MOVIE FROM A TECHNICAL STANDPOINT THAT I WAS -- THAT ALL THE MOVIES I HAD MADE KIND OF PREPARED ME TO MAKE THIS MOVIE.

>> ABSOLUTELY. IN SOME WAYS IT FEELS, I DON'T KNOW IF I WOULD SAY LIKE A COMMENTARY ON YOUR OTHER MOVIES, BUT IT DEFINITELY FEELS LIKE THE CULMINATION OF A BODY OF WORK.

>> YEAH, KIND OF FEELS THAT WAY. I MEAN, THERE'S A LOT OF STUFF, THERE'S A LOT OF STUFF THAT ECHOES, ECHOES IN THE PAST WORK A LITTLE BIT.

>> IF YOU WERE TO PROGRAM A ROBERT ZEMECKIS FESTIVAL, THIS CAME AT THE TAIL END OF IT, ANYBODY WHO HAD BEEN THERE FOR THE FESTIVAL, THAT MAKES SENSE.

>> IT WILL BE INTERESTING TO SEE WHAT THE NEXT ONE LOOKS LIKE.

>> COMPLETE DEPARTURE, ENTIRELY HAND HELD DRAMA SHOT INSIDE OF A HOTEL ROOM.

>> ONE ROOM, EXACTLY.

>> ROBERT, THANK YOU SO MUCH FOR BEING HERE. "WELCOME TO MARWEN" IS OPENING THIS FRIDAY I BELIEVE. GO SEE IT. DON'T SEE ANY OTHER MOVIES, GO SEE THAT MOVIE. AND GIVE ROBERT A ROUND OF APPLAUSE.

>> THANK YOU, EVERYBODY. THANK YOU SO MUCH. [ APPLAUSE ]

Sherri Shepherd & Gabriel Iglesias

Individually, both Gabriel Iglesias and Sherri Shepherd are a blast! So you could imagine the riot we had with them taking the stage together...I mean this photo gives you an idea! 😂Be sure to watch our time with the "Mr. Iglesias" stars! (Photo Credit: Jammi York /BUILD )

Robin Givens

If you love her in "Riverdale," then get ready for an even edgier, more ambitious Robin Givens in the newest OWN series! Find out what she enjoyed most about filming the first season of "Ambitions." (Photo Credit: Jammi York /BUILD )

Emily Ratajkowski & Theo James

Quite the pair! 😍These two lovely actors teamed up to bring to life the new movie, "Lying & Stealing." Hear all about their experience working together and the awesome locations they filmed at.

(Photo Credit: Mike Pont /BUILD )

Chris Moukarbel & Lady Bunny

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(Photo Credit: Mike Pont /BUILD )

Bella Thorne

Bella Thorne has no problem keeping it real and we applaud her for that! Don't miss this very candid and deep conversation we had with the actress, and now author, about her new book, "The Life of a Wannabe Mogul," career and life.

(Photo Credit: Noam Galai /BUILD )

Tessa Thompson & Chris Hemsworth

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(Photo Credit: Jammi York /BUILD )

Monét X Change with Gene Graham, Blaze & Fever

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Stana Katic

The Amazon Prime series, "Absentia," is back for another season! 🙌Stana Katic gave us some deets on what viewers can expect and her rewarding experience as lead and producer on the show thus far. Tune in! (Photo Credit: Jammi York /BUILD )

Julia Stiles

Sometimes wealth comes from the shadiest business as we see in Julia Stiles' great new show, "Riviera." Watch her explain how her character, Georgina, and the show has evolved from season 1 to season 2.  (Photo Credit: Jammi York /BUILD )

Sutton Foster, Miriam Shor, Molly Bernard & Peter Hermann of TV Land's "Younger" on BUILD Series

We always love having the "Younger" folks at BUILD and, honestly, we always will! 😍This time around we sat down to chat with Sutton Foster, Miriam Shor, Molly Bernard and Peter Hermann about what awaits viewers in season 6 of their hit series. (Photo Credit: Mike Pont /BUILD )

Jake Miller

Needless to say, we aren't the only ones who love Jake Miller! 💛Fans haven't been able to get enough of his latest EP, "Based On a True Story," and he's so appreciative of it. Check out our chat with the great and humble artist. (Photo Credit: Mike Pont /BUILD )

Elaine Welteroth

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Alexandra Shipp, Jessie T. Usher, Regina Hall & Tim Story

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Carrie Preston & Niecy Nash

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Monét X Change with RuPaul and Anthony Rapp

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Jo Koy

🗣Netflix watchers be on alert cause Jo Koy is "Comin' In Hot!" ☄️We had a great time talking with the charmingly funny guy about his latest Netflix special that is sure to leave viewers cracking up. (Photo Credit: Mike Pont /BUILD )

Behati Prinsloo

She's a supermodel who not only makes time for the runway but to save rhinos; you gotta love her! Tune into our talk with Behati Prinsloo about her work with the organization, Save the Rhino Trust Namibia. 🦏 (Photo Credit: Mike Pont /BUILD )

Samira Wiley

Absolutely loved having Samira Wiley of "The Handmaid's Tale" stop by! ❤️ 🧡 💛 💚 💙 From what she's learned from her character to what she's taking away from her other hit series, "Orange Is the New Black," we had a great conversation with her.  (Photo Credit: Mike Pont /BUILD )

Sanaa Lathan

Always a pleasure having Sanaa Lathan! The lovely actress talked about her experience working on the rebooted classic sci-fi series headed by Jordan Peele, "The Twilight Zone." So do yourself a favor and replay our chat with her. 😬 (Photo Credit: Mike Pont /BUILD )

Wanda Sykes

Wanda Skyes is not normal...she's far above average with her outstanding activism, wit and comedy! She joined us to talk about her new Netflix special. Trust us, you're going to want to hear what she had to say! 😏 (Photo Credit: Noam Galai /BUILD )

Ellen Page, Alan Poul, Lauren Morelli, Charlie Barnett, Laura Linney & Zosia Mamet

Look at those smiles! 😁 These beautiful people are responsible for what's sure to be Netflix watchers' newest obsession, "Tales of the City." Hear what the cast and creators had to say about modernizing the 90s miniseries.

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Tyga

There aren't too many people that shine as bright T-Raww! 🤩Hip-hop lovers are in for quite the treat with Tyga's new album, "Legendary." Tune into to see who's featured in it.

(Photo Credit: Jammi York /BUILD )

Alycia Debnam-Carey, Colman Domingo, Danay Garcia, Austin Amelio & Jenna Elfman

They may star on a show all about death but these fine folks give us life! 🥰 Find out what zombie-infested fates await your favorite characters in the new season of the hit AMC series, "Fear the Walking Dead." 👀

(Photo Credit: Noam Galai /BUILD )

Patrick Page & Amber Gray

Put these two master actors on a stage and it's no surprise that you have a Tony-nominated musical. If you're a fan of Broadway's "Hadestown" or just stellar musicals in general, be sure to watch our chat with Patrick Page and Amber Gray. (Photo Credit: Mike Pont /BUILD )

Monét X Change & Colman Domingo

This picture is an understatement of how much fun we had with Colman Domingo on The X Change Rate! 🤑We talked Iggy Azalea leaving social media, we found out who Colman would "beat" or "eat" and so much more. Don't miss Monét being Monét! (Photo Credit: Noam Galai /BUILD )

Gabrielle Green, Ryan Alessi, Kate Godfrey, Chinguun Sergelen, Reece Caddell, Lex Lumpkin & Nathan Janak

These kids are the future and they're funny! 🤣Now although they have some big shoes to fill, they're up for the challenge! Check out how the young budding stars felt about joining the reboot of the beloved Nickelodeon sketch comedy, "All That." (Photo Credit: Michael Koehler /BUILD )

Albert Hammond Jr

Musician Albert Hammond Jr stopped by the studio to give us some details about his new single, "More to Life." Make sure to tune in to see what "Queer Eye" member sent him a super supportive video message! 👀 (Photo Credit: Jammi York /BUILD )

Kel Mitchell

90s kids rejoice...Kel Mitchell and "All That" are back! 🙌 The former star, who now co-executive produces alongside Kenan Thompson, told us all about the nostalgic and new bits in the show that will have audiences cracking up.

(Notice the orange soda on the side 😏)

(Photo Credit: Jammi York /BUILD )

DeWanda Wise

DeWanda Wise is as lovely as she is gorgeous, we promise you! 😍🤩 Find out what attracted the "She's Gotta Have It" star to the vibrant role of Nola Darling and how she approaches playing her. (Photo Credit: Mike Pont /BUILD )

Monét X Change & Logan Browning

The X Change Rate is officially open! We couldn't have had a better guest to join Monét X Change on our new show's debut than Logan Browning. Don't miss all the tea cause trust and believe there was some spilled! ☕️✌️ (Photo Credit: Jammi York /BUILD )

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