David Dobkin & Susan Downey

0:01Hank Palmer. Hank, Sheriff White, it's regarding your father. Biggest mistake of your career, and you just happen to run him over? Forensics found traces of blood on your dad's car. I sat on the bench of that courtroom for 42 years. This was an accident period. We need to establish a firm defense. There's no way here, Henry. I wish I let you more. I can't stay. You're a lawyer, he's your father. You leave now. You are a grand. You're a shined up wooden nickel, Mr. Palmer. I'm going to impale your client on the first degree murder charge. You get a front-rest suit. My father's a lot of unpleasant things. Our murder is not one of them. I wanted to start with Hollowseems, because Bonnie Vera's song almost plays like another character in this movie.

0:46Where did that come into play in the script, processor, and shooting or in post or with? It came to play when I started scouting. Usually when I start scouting locations, I start listening to music and I start kind of imagining stuff in that song really stuck. I actually played it on set in both of the scenes that it is in. It was playing so the actors are actually performing with it. Then it was a long journey to convince them to let us use it. But when we finally got the movie done and we showed them the movie or him the movie, he immediately said, I love it. Please use it both times. You said this is, I think you were talking about that in Insiders interview. You were talking about this is the movie you've always wanted to make. How come?

1:31I've always wanted to tell these great character-driven stories. One of the things that connected us and Robert when we were in early development on this is the type of movies that we always reference. They're the ones from late 70s, early 80s that don't really get made anymore. Whether it's terms of endearment, the verdict, Kramer versus Kramer. I loved broadcast news a little bit later, even Rain Man, which was even a little bit later. You just don't see those anymore. When this came across my desk and David had called and kind of prepped me, it's not the type of movie I've known for. I read it as like, this is fantastic. This is something where on the one hand you're going to get the audiences to see it. It is commercial, it's not meant to be small and indie. But there is a beautiful character journey at its core. Absolutely. Talk about throwback. Even the way I guess you and Yunush lit the courtroom scene, it looked like that misty old.

2:20There's no lights in the room. It looked like the 20s almost. Yeah. What do you want to look like that? You know what? I just loved the, we looked at a lot of courtrooms and other movies and how they'd done it. Both in the design of the courtroom, by the way. I just loved to kill a mockingbird and some of those older movies were my favorites. We wanted it to have a quality of strength and be something that took you into another place. There was a sense of weight and power and honor and justice. So there's a mythology that you sense when every time you walk in that courtroom. I don't have too much time, so we do something called Five Questions. Five quick questions. One word answers. Film or digital? Film. It made me more for you right now. Call me to your drama. Drama. Drama. Leonard or McCartney?

3:05Lennon. McCartney. Hitchcock. I knew you were on my record here, by the way. Hitchcock or Kubrick? Kubrick. Hitchcock. In one word, the judge. Fantastic. Beautiful. What was this to say? That's perfect. Thank you. Thank you. You got it. Last one. Thanks. Are you going to be there tonight? No, I've seen it already. I know. Do you read Carpenter? No. No. I don't. Okay, got it. Thank you very much, man. I appreciate it. You want to check smart? I like you. You have good questions.