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Hello, I am Josh Boone,
the director of The Fault in Our Stars.
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And I'm sitting here with Mr. John Green,
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who wrote the novel
that the film is based on.
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GREEN: Hello.
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-BOONE: Uh, the date is?
-May 13th, 2014.
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BOONE: And John and Ansel and Shai
and Nat and myself
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have been in the middle of a press tour.
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So, we've been talking
about this movie non-stop,
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and John especially,
for the past two weeks?
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GREEN: Yeah, sorry, I have a little bit
of a husky voice right now.
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-I apologize for it.
-Yeah. And there's still more to do.
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So, the movie hasn't come out yet,
we're still a couple of weeks out.
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I woke up this morning
and was on my way to the office,
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and they'd put up a gigantic Fault billboard
at the end of my street...
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-GREEN: Oh, cool.
-...as a nice thing.
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So, thank you, Fox, for that.
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GREEN: I love Hazel's
hazel eyes in that scene.
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I love that you start so close on them.
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BOONE: And Ben and I talked about
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we wanted to
see the stars sparkle in her eyes.
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GREEN: Yeah, so, we start here,
with this romanticized version
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of what might have been
the Hollywood version of their love story.
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BOONE: And when I went to Fox
we talked a lot about the opening montage,
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and Jerry Maguire was a reference,
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just because it moves quickly
and it's funny and sad
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and goes through
all these emotional ups and downs
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and it just moves at a clip.
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So, that was the model
for the first little bit of this.
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GREEN: I love that you kept the font
from the book. I appreciate that.
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No, it couldn't have been anything else.
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We were looking, they brought some to us,
they looked like your font.
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So, yeah, once they had the trailer out,
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we said, "We just want what's at
the tail of the trailer, that's what we want."
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HAZEL". Depression's not
a side effect of cancer.
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GREEN: I love that you can see Hazel's
social isolation in this beginning bit.
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That covered so much
of what's in the book.
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BOONE: Yeah.
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GREEN: You just see it in her eyes when
she's looking at those kids in the mall.
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-BOONE: You feel her isolation.
-Yeah.
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Yeah, she's always alone, only her mom,
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looking at other people falling in love,
I love that.
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BOONE: And that's just thinking about
what it was like to be a teenager.
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A lot of the time, you feel like that
whether you have cancer or not.
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GREEN: Yeah, yeah, absolutely. Yeah.
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I also loved the design
ofAn Imperial Affliction.
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BOONE: Yeah, a lot of that can be owed to
Molly Hughes, our production designer,
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who's one of
my favorite people on the planet.
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-GREEN: Mine, too.
-And we gave her...
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I think Isaac and I, maybe you as well,
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we gave her
different book covers that we liked.
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And she somehow got this
to some art designers
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-from the Ham] Potter films.
-Yeah.
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Yeah, they did a lot of work
for the Ham] Potter series,
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and they were fans of
The Fault in Our Stars.
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And they made an amazing, amazing
An Imperial Affliction cover.
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BOONE: And then, here is the man himself.
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GREEN: The greatest casting coup of all.
-Yeah.
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My editor is always like...
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Robb Sullivan, my editor,
the great Robb Sullivan, is always like,
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"Birbig saves the first act
from just being sad."
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It's like, he comes in,
and just everybody starts laughing.
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GREEN: He's just such a funny person.
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He was so funny on set
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that I kept ruining takes
with my laughter from the next room.
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BOONE: I did that often.
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GREEN: And all these kids are...
There's PJ, my friend PJ.
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All these kids are real cancer survivors
or people living with cancer.
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BOONE: Yeah, some of those
are kids that I met with,
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or Shai and Ansel met with,
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and then,
there were others who weren't there
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that they met with as well
for the research.
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This is...
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-GREEN: I love that it's Mario Kart.
-Yeah, Mario Kart is great.
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He moved back in with his parents
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and went
and pulled his Nintendo out of the attic
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and was like,
"I'm gonna get back into this."
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GREEN: And making the Jesus rug.
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The Jesus rug was made
by a bunch of artisans in Pittsburgh,
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and I think they did an amazing job.
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In fact, If I could have kept one prop,
that's the one I would have chosen.
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BOONE: They would not tell me how much
it cost, but I was told it was expensive.
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-GREEN: It was worth it.
-Yeah.
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-There's Mr. Nat Wolff.
-There's your first picture.
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BOONE: That's my buddy.
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GREEN: The first moment of Nat and Hazel.
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This is where you see this distance
between herself, as she expresses herself,
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and then herself, as she imagines herself.
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BOONE: Now, she has such a specific voice.
When you wrote the novel,
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was the cadence of her speech
and the way she delivered lines...
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Was Shai's similar to
what you heard in your head?
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GREEN: It was so similar.
It was eerily similar the way that she...
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Even where her spaces were,
where her breaths were
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was very much
like I imagined her speaking.
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Almost all the time.
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There, by the way, is Josh Potter,
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who now has more hair
'cause he's finished going through chemo.
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-I just saw him in Cleveland. Yeah.
-That's so cool.
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GREEN: And they did a nice job.
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They made it the real Episcopal church
in Indianapolis that I based it on.
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BOONE: That's awesome.
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And we could talk for a beat
about Laura Dem.
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So, she was one of the very first people
that I met for this movie,
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and right after I met her,
I said we had to cast her
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to Wyck and Isaac, our producers.
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I loved her so much
in David Lynch's movies,
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Blue Velvet and Wild at Heart,
and Jurassic Park and Rambling Rose.
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She was just a fixture when I was younger,
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so it was just like having a legend like her,
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and a legend like Dafoe,
who I felt the same way about.
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I just knew that they would bring
real credibility to everything.
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GREEN: She also did a great job, I think,
of being a really loving mother,
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which is a different role for her.
Usually, she plays...
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As does Sam.
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Sam doesn't usually play
the loving, doting father.
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-BOONE: No.
-They both did an amazing job.
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BOONE: Yeah, they just look right together.
And Laura cared very much.
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The most important thing to her was
that she supported her daughter's dream.
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She just wanted it to be like,
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the medical stuff was there
and it was present,
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but at the end of the day,
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she just wanted to make sure
that her daughter was happy.
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-That was a bit of an improvised moment.
BOONE: Oh, yes.
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She did a couple of things there at the end
that were cute.
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I think she did one we liked
where she put a gun underneath her head
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-and blew her brains out?
-Yeah.
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HAZEL: To make my parents happy.
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I really don't understand
why I can't just drive myself.
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It's not like you're
gonna do anything.
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GREEN: There's Alex Murph
in the background.
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BOONE: There's Alex, who's great.
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You will see him in the elevator,
which actually is a continuity error.
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But I won't reveal that Alex came
at different times when we shot.
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So, sometimes things get jumbled.
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GREEN: Right, 'cause he had surgery
in the middle of the shoot.
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BOONE: Yeah.
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GREEN: But, yeah, it's a continuity error
that no one would notice,
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'cause he's out of focus,
so I think we're good.
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-Although, I ruined it. Sorry, Josh.
-No, I think I ruined it.
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GREEN: Here it is.
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-BOONE: Yeah, there's Alex.
-There he is.
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BOONE: And here is the bump,
as I like to call it.
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The meet cute
between our lovely, talented actors.
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I love this.
This is one of my favorite beats here.
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-That's just Ansel being Ansel.
-Yup, yup.
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BOONE: And then, I love this.
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I really love this moment
in front of the mirror.
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I think Shai did this beautifully.
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I love moments in movies
when people are alone.
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GREEN: Yeah, there's so much quiet
in this movie.
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You let it be quiet for long beats,
which I think was a great decision.
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BOONE: It was like, we'll get to it later,
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but the shot in the car,
driving away from the cemetery,
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which we probably
would have never used in the movie
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if the sun didn't come when it came
and hit her just right.
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But Ben was like, "Let's just drive
with her," and so, we did it.
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And it was beautiful.
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GREEN: This is one of the moments
when I saw the movie
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that I just felt like
my book was coming to life.
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Because I had imagined this moment...
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It's one of the first things I imagined
when I was writing the book.
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-On the first day, I actually made progress.
-That's so great.
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This was the moment
that I talked to Fox the most about
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when I went in to pitch.
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This was a big deal.
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Visioned just
the different close ups and everything.
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I think we talked a lot about that
and about music,
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and how they were gonna
have to come together perfectly
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to recapture that magic that's in your book.
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GREEN: Yeah, it's a really
wonderful moment for me,
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and it's one, like, you watch it being filmed
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and you don't know
what it's gonna look like.
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-And then, it just. ..
-It's just their eyes.
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When you have the right actors
who have eyes like that,
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they're just magnetic.
There's so much going on there.
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GREEN: Yeah, both Shai and Ansel are able
to say a lot without speaking.
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BOONE: Yes.
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(BOONE CHUCKLES)
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And here goes probably one of our
largest visual effects shots in the movie,
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-done by the great Jake Braver.
-Jake did such an amazing job.
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BOONE: Jake did a wonderful job
and he is a sterling young man.
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-I like him very much.
-Yeah, me, too. He's become a friend.
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BOONE: Yeah, he is a good guy.
And so, yeah, this as well.
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GREEN: The leg belongs to Tanner.
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BOONE: Yeah, who was somebody
Ansel met with
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who had lost his leg in a hunting accident,
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and spent a lot of time with him.
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And the way
that he walked and the gait and all that,
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-I think, all came from Tanner.
-Yeah, absolutely.
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And I think also,
he understood Gus' confidence differently
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after hanging out with Tanner,
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because Tanner had integrated
his disability into his life.
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BOONE: He was using his disability
to pick up girls. It was awesome.
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He had turned it into this great,
great thing that almost...
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it didn't define him, but it gave him
an interesting augmentation.
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You know what I mean?
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GREEN: Yeah, it was definitely not his
definitional character trait, which I liked.
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BOONE: Yeah, it was
like his mutant power in X-Men.
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He had this one cool thing.
(CHUCKLES)
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GREEN: This is the first speech
I wrote in the book,
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the first long bit I wrote in the book.
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BOONE: It's beautiful
'cause it's written very much
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as a back and forth
between the two of them,
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but it was played
as if it was talked to the room.
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It's all really nice and it's pretty much
exactly how you wrote it.
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You added a little something here on set.
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I remember you came up to Shai and one
thing was bothering you about the speech,
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where you added
something about dinosaurs or...
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GREEN: The thing
that was bothering me was
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that I didn't feel it was frank enough
about the ending-ness of forever.
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Not just of our death,
but of the species itself.
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I wanted it to be
as mad as possible, I guess.
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BOONE: And so,
we put back a line from the book.
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GREEN: There's Emily Peachey as Monica,
working hard with Nat Wolff.
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BOONE: Yeah, this was a tough job for her
and for him.
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GREEN: It was a long, long day,
because they had to do it offscreen, too.
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They had to do it just there,
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so that Shai and Ansel
had something to look at.
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-They had to keep making out.
-Yeah, yeah.
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And going back just for a second
before I forget,
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one of the reasons I put Mulder and Scully
in the movie from X-Files
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was just the believer
versus the non-believer
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and I thought that was very Gus and Hazel.
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GREEN: Yeah,
that was really important to me
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that Gus and Hazel have fundamentally
different world views about forever.
225
00:10:36,975 --> 00:10:39,478
But they don't let that
get in the way of their love.
226
00:10:39,561 --> 00:10:41,647
Like, they're still able
to respect each other,
227
00:10:41,730 --> 00:10:44,817
-and they're still able to...
-Come to some sort of common place.
228
00:10:44,900 --> 00:10:50,197
GREEN: They find enough common ground
without having to 100% agree.
229
00:10:50,280 --> 00:10:52,533
BOONE: What's so great about
their relationship, and it's what you did,
230
00:10:52,616 --> 00:10:55,244
you created them,
231
00:10:55,410 --> 00:11:00,165
it's like two people who found someone
who spoke the same language as them,
232
00:11:00,249 --> 00:11:03,001
and it was like
the first time they'd really had that,
233
00:11:03,085 --> 00:11:04,837
that intimacy
that you have with somebody.
234
00:11:04,920 --> 00:11:06,964
-Thanks, Josh.
-Yeah, no, of course.
235
00:11:07,047 --> 00:11:08,590
GREEN: So, let's just make this
a big love fest.
236
00:11:08,715 --> 00:11:12,511
BOONE: Well, I love this movie
and I love everybody who made it.
237
00:11:12,594 --> 00:11:13,679
There we go.
238
00:11:13,762 --> 00:11:16,515
GREEN: I love that Nat has that necklace
with the on it for Monica...
239
00:11:16,598 --> 00:11:18,517
BOONE: That's all Nat.
-Was that Nat's idea?
240
00:11:18,600 --> 00:11:20,352
BOONE: Nat was like, "Can I wear
a necklace?" I was like, "No."
241
00:11:20,435 --> 00:11:22,813
And then, I thought about it and I was like,
"He's right."
242
00:11:22,896 --> 00:11:26,191
-GREEN: There it is. Oh, boy.
-There it is.
243
00:11:26,275 --> 00:11:27,860
It's been said that I said,
"Honk the horn," on set,
244
00:11:27,943 --> 00:11:30,863
but I wanna go on the record and deny that.
(CHUCKLES)
245
00:11:30,946 --> 00:11:34,283
GREEN: I'm glad that you're going
to deny that. I'm going to not comment.
246
00:11:34,366 --> 00:11:36,368
BOONE: I think we might
have proof somewhere.
247
00:11:36,451 --> 00:11:38,871
-GREEN: I'm gonna not comment.
-(BOONE CHUCKLES)
248
00:11:38,954 --> 00:11:43,625
So, this was a very hard scene to edit
'cause we shot it over the course of a day.
249
00:11:43,709 --> 00:11:46,545
And the light changed so dramatically
over the course of the day.
250
00:11:46,628 --> 00:11:48,088
There's a lot of visual effects shots in here
251
00:11:48,171 --> 00:11:50,090
that you wouldn't know
were visual effects shots,
252
00:11:50,173 --> 00:11:52,885
and I would definitely like to stop
and just say
253
00:11:52,968 --> 00:11:55,804
I have the greatest
editing team on the planet.
254
00:11:55,888 --> 00:11:58,348
They did my first film
and they did this one as well,
255
00:11:58,473 --> 00:12:01,435
and the magic
that went into the editing of this film was...
256
00:12:01,518 --> 00:12:06,815
it's an invisible, but they are fantastic guys
and just talented editors.
257
00:12:07,524 --> 00:12:09,985
God! There's always
a hamartia, isn't there?
258
00:12:10,152 --> 00:12:12,321
And yours is even though
you had freaking cancer...
259
00:12:12,487 --> 00:12:14,156
you're willing to give
money to a corporation...
260
00:12:14,323 --> 00:12:16,533
for the chance to acquire
even more cancer?
261
00:12:16,950 --> 00:12:19,661
Let me just tell you
that not being able to breathe sucks!
262
00:12:19,828 --> 00:12:21,330
It totally sucks.
263
00:12:21,496 --> 00:12:22,664
"Hamartia"?
264
00:12:23,832 --> 00:12:25,375
It's a fatal flaw.
265
00:12:25,542 --> 00:12:27,044
A fatal--
266
00:12:27,336 --> 00:12:30,339
Hazel Grace, they don't actually
hurt you unless you light them.
267
00:12:31,256 --> 00:12:32,507
Hmm?
268
00:12:32,633 --> 00:12:34,134
I've never lit one.
269
00:12:35,052 --> 00:12:36,178
It's a metaphor, see?
270
00:12:36,345 --> 00:12:39,473
You put the thing that does the
killing right between your teeth...
271
00:12:39,932 --> 00:12:41,892
GREEN: I love the way
he bit the cigarette in that moment.
272
00:12:42,017 --> 00:12:43,894
BOONE: I like his...
-Brando-y.
273
00:12:43,977 --> 00:12:45,479
BOONE: Yeah, it's very Brando-y.
274
00:12:45,604 --> 00:12:50,817
GREEN: He had to be so conscious of Gus
being this performative, pretentious person
275
00:12:50,943 --> 00:12:53,695
at the beginning of the movie,
who's overly strong.
276
00:12:53,779 --> 00:12:55,030
BOONE: Yes.
277
00:12:55,113 --> 00:12:56,698
GREEN: But still charming enough
278
00:12:56,782 --> 00:12:59,785
and I think
he really got to that middle place.
279
00:12:59,868 --> 00:13:02,746
BOONE: He did, he had that... It's hard.
Not many people have it.
280
00:13:03,664 --> 00:13:08,460
That ability to... I don't know.
281
00:13:08,543 --> 00:13:11,129
He can play aloof, but also,
very vulnerable and very intelligent.
282
00:13:11,213 --> 00:13:12,339
He can do it all.
283
00:13:12,506 --> 00:13:17,886
GREEN: Yeah,
this pan' required a lot of range
284
00:13:18,053 --> 00:13:20,472
even inside of single scenes
and he did a great job with that.
285
00:13:20,555 --> 00:13:22,557
BOONE: And even
when he came into audition with Shai,
286
00:13:22,683 --> 00:13:27,771
he was really the only actor
that really made her react differently
287
00:13:27,854 --> 00:13:29,606
than anybody else.
288
00:13:29,690 --> 00:13:31,608
He kept her on her toes,
which I was surprised,
289
00:13:31,692 --> 00:13:32,734
because they knew each other.
290
00:13:32,818 --> 00:13:35,904
So, I thought they'd maybe have
too much familiarity.
291
00:13:35,988 --> 00:13:39,700
This little girl was a wonderful,
wonderful addition to the movie.
292
00:13:39,783 --> 00:13:44,037
She is one of the most beautiful faces.
She's just great.
293
00:13:44,121 --> 00:13:46,665
GREEN: Yeah, it was a great gift
to the movie, and she cut her...
294
00:13:46,748 --> 00:13:49,042
She shaved her head for the movie.
This is a real scene.
295
00:13:49,167 --> 00:13:52,671
BOONE: Laura shaved her head onscreen.
296
00:13:52,754 --> 00:13:55,966
She was great, she was excited,
she wanted to do it.
297
00:13:56,049 --> 00:13:57,801
We looked a long time for this little girl,
298
00:13:57,884 --> 00:14:01,096
somebody who actually had eyes
that reminded us of Shai's
299
00:14:01,179 --> 00:14:04,558
and facial features
that felt in the same world.
300
00:14:06,351 --> 00:14:08,937
-GREEN: See Sam's...
-Yeah.
301
00:14:10,689 --> 00:14:12,441
Yeah, this is a brutal moment.
302
00:14:12,774 --> 00:14:15,986
This is when I think it gets really emotional
for people watching the movie.
303
00:14:16,111 --> 00:14:20,407
I think
this little girl really makes you understand
304
00:14:20,490 --> 00:14:23,869
how precarious it was with her parents
and all that.
305
00:14:23,952 --> 00:14:28,957
GREEN: Yeah, the distance between
her now, and her then, too.
306
00:14:29,041 --> 00:14:32,169
But, yeah, that was the first moment I cried
when watching the movie.
307
00:14:32,252 --> 00:14:35,714
-Fourteen minutes and 38 seconds in.
-That's right.
308
00:14:35,797 --> 00:14:37,132
BOONE: It's jam-packed.
309
00:14:37,215 --> 00:14:41,303
We packed a lot of content
into that first 14 minutes.
310
00:14:41,428 --> 00:14:43,013
GREEN: You did, yeah. It's a roller coaster.
311
00:14:43,221 --> 00:14:47,851
BOONE: Yeah, Scott and Mike did such
a beautiful job compressing everything.
312
00:14:47,934 --> 00:14:49,936
GREEN: Yeah, it didn't even
feel compressed to me.
313
00:14:50,020 --> 00:14:51,521
-BOONE: It doesn't.
-Yeah.
314
00:14:51,605 --> 00:14:53,231
BOONE: I know when I read it, it was longer.
315
00:14:53,315 --> 00:14:56,151
But it's like when you see it,
it feels like all the points are hit.
316
00:14:56,234 --> 00:14:58,028
GREEN: I think some of that's
down to the performances, too.
317
00:14:58,111 --> 00:14:59,905
There's so much that happens in the text
318
00:14:59,988 --> 00:15:03,325
that Shai and Ansel and
the cast capture in their eyes.
319
00:15:03,408 --> 00:15:06,078
BOONE: Yeah, there's so much
between the lines of dialogue,
320
00:15:06,161 --> 00:15:07,621
between the bars.
321
00:15:10,248 --> 00:15:12,417
GREEN: And this is our first glimpse
of Gus' house
322
00:15:12,501 --> 00:15:15,670
where I played
a lot of basketball with Ansel.
323
00:15:15,754 --> 00:15:18,340
-BOONE: Did you win?
-No, never. (CHUCKLES)
324
00:15:18,423 --> 00:15:21,134
BOONE: I saw him play basketball
and just demolish people.
325
00:15:21,218 --> 00:15:23,011
GREEN: I love these encouragements.
326
00:15:23,095 --> 00:15:24,763
BOONE: That is once again, that's all...
327
00:15:24,846 --> 00:15:26,098
-GREEN: It's all Molly.
-Yeah, all Molly.
328
00:15:28,683 --> 00:15:30,310
Here are Gus' parents.
329
00:15:30,393 --> 00:15:31,436
This is maybe one of, I think,
330
00:15:31,520 --> 00:15:34,314
Anse|'s funniest deliveries in the movie,
right here.
331
00:15:34,397 --> 00:15:36,691
When he says, "Okay, we're gonna go."
332
00:15:38,652 --> 00:15:40,070
'Cause they're just so embarrassing to him.
333
00:15:40,195 --> 00:15:42,447
GREEN: Yeah, just like,
"I gotta get out of here."
334
00:15:42,531 --> 00:15:43,782
BOONE: They needed to be embarrassing,
335
00:15:43,865 --> 00:15:45,867
so you felt as an audience,
that uncomfortableness
336
00:15:45,951 --> 00:15:47,994
that you would feel
when you bring a girl to your house,
337
00:15:48,078 --> 00:15:50,122
or go over and meet somebody's parents
for the first time.
338
00:15:51,540 --> 00:15:53,750
GREEN: A lot of
North Central High School gear here.
339
00:15:53,834 --> 00:15:56,920
Thanks to North Central High School
for sharing so much of their stuff with us.
340
00:15:57,003 --> 00:15:58,213
BOONE: Yeah.
341
00:15:58,547 --> 00:15:59,548
GREEN: Yeah.
342
00:15:59,714 --> 00:16:02,467
BOONE: And they're the ones
who posed in all of Anse|'s pictures, right?
343
00:16:02,551 --> 00:16:04,469
I feel, like, in the basketball pictures?
344
00:16:04,553 --> 00:16:09,224
GREEN: We had local Pittsburgh people
dressed up in North Central High School...
345
00:16:10,433 --> 00:16:14,479
But this was another scene
that was so weird to see
346
00:16:14,563 --> 00:16:16,606
because I just felt like
I was inside of Gus' house.
347
00:16:16,690 --> 00:16:18,859
I would walk around in the basement
and just feel like,
348
00:16:18,942 --> 00:16:20,277
"How am I inside of my own brain?"
349
00:16:20,360 --> 00:16:22,154
BOONE: We looked all over
for this basement.
350
00:16:22,237 --> 00:16:24,865
We looked at so many basements
and none of them were right,
351
00:16:24,948 --> 00:16:27,909
and we found this one, it was just like,
"Okay, we think this could work."
352
00:16:27,993 --> 00:16:29,494
GREEN: Didn't the woman open the door
353
00:16:29,578 --> 00:16:31,580
and they said, "We're scouting
for The Fault in Our Stars,"
354
00:16:31,663 --> 00:16:33,039
and the first thing
the owner of the home said,
355
00:16:33,123 --> 00:16:36,418
-was, "| have Gus' basement."
-Yeah, she said, "| have Gus' basement."
356
00:16:36,501 --> 00:16:39,921
Yeah. Her kids were obsessed with
the book.
357
00:16:40,046 --> 00:16:43,675
Now, they can go downstairs and say,
"Nat Wolff destroyed trophies down here.
358
00:16:43,842 --> 00:16:45,927
"And broke our wall."
359
00:16:46,011 --> 00:16:49,181
GREEN: "And we have
the chipped bricks to prove it."
360
00:16:49,264 --> 00:16:51,600
This was a big moment for me
361
00:16:51,683 --> 00:16:54,561
because it's the first moment
where you see the distance between...
362
00:16:54,644 --> 00:16:57,230
It's really important to Gus and to Hazel
363
00:16:57,314 --> 00:17:00,025
that they not think of their story
as being just about cancer.
364
00:17:00,108 --> 00:17:03,612
That cancer is something
they're living with, but it's not...
365
00:17:03,695 --> 00:17:05,363
BOONE: Defining their lives.
366
00:17:05,447 --> 00:17:07,407
GREEN: Right. It's not
the defining feature of their lives.
367
00:17:07,741 --> 00:17:11,786
They're still gonna live their life regardless
of the disease that they're living with.
368
00:17:11,953 --> 00:17:13,246
...it's amazing.
369
00:17:13,413 --> 00:17:16,124
The author, his name
is Peter Van Houten.
370
00:17:16,458 --> 00:17:18,919
He's the only person
I've ever come across in my life...
371
00:17:19,085 --> 00:17:22,422
who, A, understands
what it's like to be dying...
372
00:17:22,589 --> 00:17:24,758
but, B,
hasn't actually died.
373
00:17:24,925 --> 00:17:26,301
Okay.
374
00:17:26,468 --> 00:17:28,970
I will read this
horrible book with this very boring title...
375
00:17:29,137 --> 00:17:31,640
that does not
include zombies or Stormtroopers.
376
00:17:31,806 --> 00:17:33,141
And in exchange...
377
00:17:36,144 --> 00:17:37,729
...you will read this.
378
00:17:37,812 --> 00:17:40,023
GREEN: And he makes her
read Counterinsurgence.
379
00:17:40,357 --> 00:17:45,987
BOONE: So, Christina was...
She was our graphic designer, right?
380
00:17:46,071 --> 00:17:51,743
I'm gonna get this messed up,
but she did the cover for this book...
381
00:17:51,826 --> 00:17:54,037
-GREEN: I think it's pretty awesome.
-...which we thought was hysterical.
382
00:17:54,120 --> 00:17:57,540
-I think Isaac has the copy. Yeah.
-Does he?
383
00:17:58,166 --> 00:18:00,669
-I didn't get any props out of this movie.
-No?
384
00:18:00,752 --> 00:18:01,962
-GREEN: No.
-They didn't send you anything?
385
00:18:02,045 --> 00:18:03,755
GREEN: None. Zero.
386
00:18:03,838 --> 00:18:05,590
I didn't even get Gus' basketball jersey.
387
00:18:05,674 --> 00:18:07,092
BOONE: Well, Ansel didn't get his jacket
388
00:18:07,175 --> 00:18:09,261
and I thought
he really should have had that jacket.
389
00:18:09,344 --> 00:18:11,054
GREEN: He made a big to-do about it.
390
00:18:11,137 --> 00:18:13,431
In fact, half of our press tour was Ansel
391
00:18:13,807 --> 00:18:15,016
complaining that he didn't have the jacket.
392
00:18:16,434 --> 00:18:18,061
BOONE:
It is one of those great jackets, though.
393
00:18:18,144 --> 00:18:23,400
Mary Claire Hannan is the great
costume designer who did this film.
394
00:18:23,525 --> 00:18:26,695
She has worked with Tarantino,
395
00:18:26,778 --> 00:18:29,489
did Jackie Brown, worked on Pulp Fiction,
Reservoir Dogs,
396
00:18:29,572 --> 00:18:30,907
she did Into the Wild with Sean Penn,
397
00:18:31,074 --> 00:18:35,578
and all the color
and all the life in this movie.
398
00:18:37,289 --> 00:18:39,374
She just chose great clothing for them
399
00:18:39,457 --> 00:18:43,795
and I like movies
where characters have costumes,
400
00:18:43,878 --> 00:18:50,260
like Shai has her green jacket
and Gus has his Marlon Brando jacket.
401
00:18:50,343 --> 00:18:53,346
It's just that distinct thing
that hopefully makes them iconic.
402
00:18:53,513 --> 00:18:57,726
GREEN: Also, there's nothing fancy
or Hollywoodified about their outfits,
403
00:18:58,059 --> 00:18:59,352
which was very important to me.
404
00:18:59,436 --> 00:19:04,941
It's another way of getting
at the realness of these people.
405
00:19:27,630 --> 00:19:28,840
BOONE: And talk about Ben for a second,
406
00:19:28,923 --> 00:19:31,634
I love the lighting in that shot so much,
it made me think of Ben.
407
00:19:31,718 --> 00:19:33,428
So, the interesting story
about how I met Ben
408
00:19:33,511 --> 00:19:35,555
was when I went to Fox, I brought them...
409
00:19:35,638 --> 00:19:36,639
GREEN: Ben Richardson's
the cinematographer.
410
00:19:36,723 --> 00:19:37,682
Yes, he is.
411
00:19:37,766 --> 00:19:41,519
He is the cinematographer and he did
Beasts of the Southern Wild before this.
412
00:19:41,603 --> 00:19:45,815
And I brought Fox
a bunch of photographs by Ryan McGinley,
413
00:19:45,940 --> 00:19:48,693
who is a brilliant
New York City photographer.
414
00:19:48,777 --> 00:19:50,487
And when I went to go meet Ben,
415
00:19:50,570 --> 00:19:52,280
he brought a copy
of the Ryan McGinley book,
416
00:19:52,364 --> 00:19:54,199
and we just were like,
"All right. I guess we're doing this."
417
00:19:54,282 --> 00:19:55,325
(BOTH LAUGH)
418
00:19:55,408 --> 00:19:58,078
So, we gave
Ryan McGinley's photos to Molly
419
00:19:58,161 --> 00:20:01,706
and Molly then took the color schemes
used in his photography
420
00:20:01,790 --> 00:20:04,459
-and put that into the production design.
-Coo|.
421
00:20:04,542 --> 00:20:07,545
BOONE: And Ben made a tone board,
422
00:20:07,629 --> 00:20:10,006
utilizing all those colors
we liked in the McGinley books,
423
00:20:10,090 --> 00:20:12,509
and that's what you're seeing now.
424
00:20:12,592 --> 00:20:15,970
Mary Claire looked at a lot of that as well.
425
00:20:16,054 --> 00:20:18,223
So, that's a big part of, I guess,
prepping a movie,
426
00:20:18,306 --> 00:20:22,185
just trying to figure out
visually how you're gonna tell the story,
427
00:20:22,268 --> 00:20:25,563
and tonally,
how you're gonna convey John's book
428
00:20:25,647 --> 00:20:28,191
in the way that it felt like
when we read it for the first time.
429
00:20:32,070 --> 00:20:33,822
GUS". Hazel Grace.
430
00:20:33,988 --> 00:20:36,699
Welcome to the sweet torture
of reading An Imperial Affliction.
431
00:20:36,783 --> 00:20:38,743
GREEN: There is something
really challenging
432
00:20:38,827 --> 00:20:41,287
about capturing a text tone visually.
433
00:20:41,371 --> 00:20:43,748
-BOONE: Absolutely.
-It's very rare that it's done effectively,
434
00:20:43,832 --> 00:20:46,668
but I think that that's one of the things
I like most about this movie.
435
00:20:46,751 --> 00:20:52,048
BOONE: Yeah, Ben and I watched episodes
of House of Games and Sherlock,
436
00:20:52,132 --> 00:20:54,592
and they were doing that
on the shows a lot.
437
00:20:54,676 --> 00:20:57,095
So, we just decided to do that,
438
00:20:57,178 --> 00:21:02,100
and then, just make it look
a little teenager-y, a little Tumblr.
439
00:21:02,684 --> 00:21:04,018
GREEN: Yeah, /like that. Yeah.
440
00:21:04,144 --> 00:21:06,521
BOONE: And then,
Jake Braver went and made it happen.
441
00:21:06,855 --> 00:21:09,691
GREEN: Yeah, nice and Tumblr-y.
442
00:21:09,774 --> 00:21:14,404
BOONE: I do love that they're playing
video games, and I love that Nat is crying.
443
00:21:14,487 --> 00:21:15,613
GREEN: Yeah.
444
00:21:15,864 --> 00:21:18,533
Yeah, and he's got the Tostitos by him.
445
00:21:18,616 --> 00:21:21,744
It reminds me of
every high school breakup I ever had.
446
00:21:21,828 --> 00:21:23,746
A lot of Tostitos and crying
and video games.
447
00:21:27,876 --> 00:21:32,046
BOONE: He pulled
that little flirtation there off nicely.
448
00:21:32,130 --> 00:21:33,840
GREEN: Enough of a touch.
449
00:21:33,923 --> 00:21:36,885
BOONE: "I'm really worried about Isaac,
but, dude, you're also really hot."
450
00:21:36,968 --> 00:21:39,471
GREEN: Yeah, yeah.
451
00:21:39,554 --> 00:21:42,765
BOONE: And this was the scene Nat and I
were the most worried about in the movie.
452
00:21:42,849 --> 00:21:45,560
I was terrified of this trophy scene.
453
00:21:45,727 --> 00:21:48,146
I just didn't know
if the balance would work,
454
00:21:48,229 --> 00:21:50,773
if it would be too big,
if you'd really be able to focus
455
00:21:50,857 --> 00:21:54,068
on the conversation
that Shai and Ansel are having
456
00:21:54,152 --> 00:21:57,071
while Nat's having this freak-out.
457
00:21:57,155 --> 00:21:59,532
GREEN: Yeah, sometimes,
that stuff can be really visually shtick-y.
458
00:21:59,616 --> 00:22:03,495
BOONE: I just knew I wanted
to let Nat go nuts and do his thing.
459
00:22:03,578 --> 00:22:06,414
'Cause when you let Nat do his thing,
it can be amazing.
460
00:22:07,832 --> 00:22:11,753
So, we shot a run
with just Nat running around.
461
00:22:11,836 --> 00:22:13,713
Then we also shot a run
between Shai and Ansel
462
00:22:13,796 --> 00:22:16,049
where Nat wasn't actually
doing anything in the background,
463
00:22:16,132 --> 00:22:17,759
and you intercut between those things.
464
00:22:17,884 --> 00:22:20,595
And we also did one where
he does run around while they're talking.
465
00:22:20,678 --> 00:22:22,722
We still had to ADR most of the scene
466
00:22:22,805 --> 00:22:25,850
when he was running around screaming
just because it was...
467
00:22:25,934 --> 00:22:27,602
Yeah, but it did work out.
468
00:22:28,853 --> 00:22:29,854
GREEN: Didn't seem ADR'd to me.
469
00:22:29,979 --> 00:22:32,524
BOONE: That's good. Well, no, none of it
should seem ADR'd to anybody.
470
00:22:32,649 --> 00:22:35,485
GREEN: Mission accomplished.
-That's the magic.
471
00:22:35,568 --> 00:22:38,446
I think Nat here is beautiful,
472
00:22:38,530 --> 00:22:43,159
that he's able to make something be funny,
but also be just incredibly real.
473
00:22:43,868 --> 00:22:46,621
He just brings that pain to life
and you feel bad for him,
474
00:22:46,704 --> 00:22:49,958
but he's also self-aware enough
to not take himself that seriously.
475
00:22:50,083 --> 00:22:52,085
GREEN: The great thing
about the character of Isaac
476
00:22:52,168 --> 00:22:55,463
is that character could have been played
as the butt of a joke.
477
00:22:55,588 --> 00:22:58,174
As a bunch of jokes about his disability,
478
00:22:58,258 --> 00:22:59,425
and his obsession over being dumped,
479
00:22:59,509 --> 00:23:02,679
and instead, Nat made Isaac a funny person
480
00:23:02,762 --> 00:23:05,181
who's going through
a very difficult period in his life.
481
00:23:05,265 --> 00:23:07,225
And that was
the absolute key to that character.
482
00:23:07,308 --> 00:23:08,309
That's why it works.
483
00:23:08,434 --> 00:23:11,229
BOONE: And to have so much levity
and bring so much levity to the movie,
484
00:23:11,312 --> 00:23:14,232
but to have that levity as a character
when you're gonna lose your eyesight
485
00:23:14,315 --> 00:23:18,820
is a testament to his strength.
486
00:23:19,070 --> 00:23:22,407
And Nat is the reason, in some ways,
that I made this movie.
487
00:23:22,490 --> 00:23:25,451
He gave me the script and said,
488
00:23:25,535 --> 00:23:27,245
"Boone, we have to
do this movie together,"
489
00:23:27,328 --> 00:23:29,330
and we would talk about it all the time.
490
00:23:29,414 --> 00:23:33,209
And, yeah, it all magically worked out.
491
00:23:33,293 --> 00:23:36,170
GREEN: Yeah, Nat always says
that you gave him the role as a thank you.
492
00:23:36,296 --> 00:23:37,380
BOONE: As a thank you?
493
00:23:37,463 --> 00:23:39,215
GREEN: That's what he said
when were on tour together.
494
00:23:39,340 --> 00:23:42,927
He would do an impression of you
where you would say,
495
00:23:43,011 --> 00:23:44,304
"| love that."
496
00:23:44,387 --> 00:23:46,764
BOONE: Now, this I want you to know.
I said, "Nat, do not hit the wood."
497
00:23:46,848 --> 00:23:50,268
GREEN: Yeah, you could
see it chip as he's doing it.
498
00:23:50,351 --> 00:23:51,853
So, we wanna apologize
to the homeowners.
499
00:23:51,936 --> 00:23:53,438
BOONE: Yeah, we're sorry about that.
500
00:23:53,521 --> 00:23:55,106
-GREEN: But it is a great moment.
-It is. It's fantastic...
501
00:23:55,189 --> 00:23:57,317
GREEN: It wouldn't be as good
if he hadn't hit the...
502
00:23:57,442 --> 00:23:59,485
BOONE: And this is my favorite
Nat improvised moment in the movie,
503
00:23:59,569 --> 00:24:00,695
other than the eggs.
504
00:24:00,778 --> 00:24:02,447
This right here
where he picks up the really big one.
505
00:24:02,530 --> 00:24:04,032
And he goes...
506
00:24:04,198 --> 00:24:05,199
-Cool?
-Sure.
507
00:24:05,491 --> 00:24:07,452
BOONE: That's just Nat Wolff.
508
00:24:07,535 --> 00:24:10,079
GREEN: Yeah,
Nat brings so much improvisational
509
00:24:10,163 --> 00:24:11,998
energy to every scene that he's in.
510
00:24:12,081 --> 00:24:15,585
BOONE: He really does
and that's his strength as an actor.
511
00:24:15,668 --> 00:24:17,128
-It's his looseness.
-Right.
512
00:24:17,253 --> 00:24:19,172
BOONE: He can roll with whatever happens.
513
00:24:19,255 --> 00:24:23,176
GREEN: Yeah, and you did such a great job
of letting them play to their strengths,
514
00:24:23,259 --> 00:24:25,136
each of the actors,
515
00:24:25,219 --> 00:24:29,349
letting them find what they're best at
and encouraging that.
516
00:24:29,432 --> 00:24:32,727
BOONE: It's like I'm not a micromanager
and there's directors who are,
517
00:24:32,810 --> 00:24:33,978
and I'm not,
518
00:24:34,062 --> 00:24:38,733
and I feel like my job is to hire
the best possible people for the roles,
519
00:24:38,816 --> 00:24:42,320
the best possible people
for all the jobs on set
520
00:24:42,403 --> 00:24:45,365
and let them do their jobs.
521
00:24:45,448 --> 00:24:48,451
Unless they're doing something
that's so off point,
522
00:24:48,534 --> 00:24:50,536
but if everybody's
tonally on the same page,
523
00:24:50,620 --> 00:24:53,956
everybody just usually excels
and does great work.
524
00:24:54,040 --> 00:24:57,418
And we definitely had that here.
Everybody did beautiful, beautiful work.
525
00:24:57,960 --> 00:24:59,170
GREEN: Yeah.
526
00:25:00,963 --> 00:25:03,800
BOONE: I can't hear it here,
but I'll talk for a moment about...
527
00:25:03,883 --> 00:25:06,511
This is one of my favorite little score cues.
528
00:25:06,594 --> 00:25:09,847
Nate Walcott and Mike Mogis
of Bright Eyes scored the film.
529
00:25:09,931 --> 00:25:11,349
They did my first film as well.
530
00:25:11,432 --> 00:25:13,601
I was a big Bright Eyes fan for years
531
00:25:13,768 --> 00:25:17,772
and was lucky enough to have them
come on this journey.
532
00:25:17,855 --> 00:25:23,361
And they just captured
the emotion and the feeling of the book,
533
00:25:23,444 --> 00:25:24,862
I thought, beautifully.
534
00:25:24,946 --> 00:25:29,367
This and the music we put in,
it really tonally made it sound for me.
535
00:25:29,534 --> 00:25:32,120
They built beautiful themes
that they ran throughout
536
00:25:32,203 --> 00:25:33,830
the movie for each of the characters
537
00:25:33,913 --> 00:25:39,293
and I think a huge part of the emotion that
you feel when you watch it is their score.
538
00:25:42,130 --> 00:25:43,131
Do you like the score?
539
00:25:43,464 --> 00:25:45,800
GREEN: I did like the score very much.
540
00:25:45,883 --> 00:25:50,054
I still haven't seen
the finished version of the movie.
541
00:25:51,347 --> 00:25:54,684
I saw it very, very close to finished
when I was with you the last time...
542
00:25:54,809 --> 00:25:56,060
BOONE: So, we changed a lot, John.
543
00:25:56,144 --> 00:25:59,897
We're sorry to tell you
that we changed everything.
544
00:25:59,981 --> 00:26:02,066
-GREEN: Yeah, now, I gotta be nervous.
-Yeah.
545
00:26:02,150 --> 00:26:04,610
GREEN: But, no, I did.
I really liked the score.
546
00:26:04,694 --> 00:26:06,529
Music matters so much to a movie
547
00:26:06,612 --> 00:26:10,908
because when I first saw it,
it had very little, it had placeholder music.
548
00:26:10,992 --> 00:26:12,118
And it was a very different movie.
549
00:26:12,243 --> 00:26:14,036
BOONE". Of course, yeah. Absolutely.
550
00:26:14,120 --> 00:26:17,206
And part of the pitching process
to get this job
551
00:26:17,290 --> 00:26:19,625
was bringing a USB stick to Fox
552
00:26:19,709 --> 00:26:21,961
that had the M83 song
at the end of the film,
553
00:26:22,044 --> 00:26:25,631
and The Radio Dept. song
when they're on the tram in Amsterdam
554
00:26:25,715 --> 00:26:27,508
and some other ones.
555
00:26:27,592 --> 00:26:31,220
Then we hired Season Kent,
who's one of the great music supervisors,
556
00:26:31,304 --> 00:26:34,891
and I gave her my iTunes library,
and I said, "| like all this.
557
00:26:34,974 --> 00:26:37,643
"As long as it's in this world, I'll be happy."
558
00:26:37,727 --> 00:26:41,147
And we just started working
and she started bringing us wonderful stuff
559
00:26:41,230 --> 00:26:45,943
and gave us access to artists
who wrote wonderful, original songs for us.
560
00:26:47,361 --> 00:26:49,363
GREEN: Yeah, I love the music.
I love the soundtrack.
561
00:26:49,489 --> 00:26:51,699
Of course, I don't ever listen to bands
other than The Mountain Goats.
562
00:26:51,783 --> 00:26:54,410
I love that we went back to
the same place and now,
563
00:26:54,494 --> 00:26:55,787
instead of seeing Hazel by herself...
564
00:26:55,870 --> 00:26:57,455
BOONE: Yeah, there's Gus.
565
00:26:57,538 --> 00:27:00,458
And the cigarette tradeoff is really funny.
566
00:27:00,583 --> 00:27:02,627
GREEN: And that wasn't in the script,
was it? They just did that.
567
00:27:02,877 --> 00:27:05,296
BOONE: I suggested that they would do it
and they did,
568
00:27:05,379 --> 00:27:07,340
and we just were trying
to think of cute things.
569
00:27:07,423 --> 00:27:09,842
Like, Ben came up with that little move
going up there.
570
00:27:09,926 --> 00:27:13,304
We holed up in a hotel room
for three or four days
571
00:27:13,387 --> 00:27:15,431
or five days leading up to shooting.
572
00:27:15,556 --> 00:27:19,185
I maybe had a shot list for the movie done
573
00:27:19,268 --> 00:27:21,187
and vague ideas
about some of these montages,
574
00:27:21,270 --> 00:27:23,481
but bringing
all these moving camera moments to life
575
00:27:23,564 --> 00:27:27,527
and these montage moments...
I owe so much to Ben.
576
00:27:27,610 --> 00:27:28,861
He knew what I wanted,
577
00:27:28,945 --> 00:27:32,281
but he really made them different
from stuff we've seen before.
578
00:27:33,741 --> 00:27:37,370
And he really kept a movie
that's just a lot of talking alive visually.
579
00:27:37,453 --> 00:27:38,496
GREEN: Yeah.
580
00:27:38,579 --> 00:27:41,624
BOONE: And we talked a lot about that,
we watched a lot of movies...
581
00:27:41,707 --> 00:27:43,292
In preparation to make this movie,
582
00:27:43,376 --> 00:27:47,630
we watched Apocalypse Now
for the introduction of Brando at the end.
583
00:27:47,713 --> 00:27:49,382
We were watching it and we were like...
584
00:27:49,465 --> 00:27:51,843
And then they go right past
these drapes that are hanging
585
00:27:51,926 --> 00:27:54,178
and you get this glimpse of him
as you go by.
586
00:27:54,262 --> 00:27:56,556
Or watching Jerry Maguire
or movies like that.
587
00:27:56,681 --> 00:27:59,475
Say Anything..., John Hughes films.
588
00:27:59,559 --> 00:28:02,228
Cameron Crowe is a big influence
in my first film
589
00:28:02,311 --> 00:28:05,189
and this film
with how he uses music in movies.
590
00:28:05,273 --> 00:28:07,525
Particularly Say Anything...
and Almost Famous.
591
00:28:07,608 --> 00:28:10,570
Almost Famous, we looked at the scene
592
00:28:10,653 --> 00:28:14,949
where Penny Lane leaves the room
for Patrick Fugit to lose his virginity,
593
00:28:15,032 --> 00:28:18,870
and the camera's dancing around his eyes,
and you see the girls dancing in his eyes.
594
00:28:18,995 --> 00:28:21,998
And we talked about that
for the staring contest and for the opening.
595
00:28:23,291 --> 00:28:24,959
GREEN: This is it, this is it.
596
00:28:25,084 --> 00:28:28,713
It's one of my favorite moments
in the whole movie.
597
00:28:28,796 --> 00:28:30,840
I love the way it's shot. I love the light.
598
00:28:30,923 --> 00:28:33,217
BOONE: I remember
we were shooting this on set
599
00:28:33,301 --> 00:28:36,220
and Wyck coming to me and saying,
"My God, it's so romantic.
600
00:28:36,554 --> 00:28:37,555
"This is gonna work."
601
00:28:37,638 --> 00:28:39,807
That was a very charged moment on set
when Ansel was...
602
00:28:39,891 --> 00:28:40,933
GREEN: Yeah, it definitely was.
603
00:28:41,017 --> 00:28:42,226
BOONE: On his side, especially,
604
00:28:42,310 --> 00:28:44,562
because he was just
with his arm back like that
605
00:28:44,645 --> 00:28:49,650
and he just looked like every girl's dream.
606
00:28:50,776 --> 00:28:54,405
GREEN: He is a handsome lad.
-Yes, he is a stud.
607
00:28:54,488 --> 00:28:57,491
GREEN: I love the wallpaper, the paint,
whatever that is in her room.
608
00:28:57,658 --> 00:29:00,703
And there's the Hectic Glow poster.
I love that there's a Hectic Glow poster.
609
00:29:00,828 --> 00:29:03,497
BOONE: They did such a beautiful job
on this room.
610
00:29:03,581 --> 00:29:06,459
My only contribution,
other than the color scheme,
611
00:29:06,542 --> 00:29:09,921
is my sister had all these stars
on her ceiling when she was younger,
612
00:29:10,004 --> 00:29:11,923
like these glow-in-dark stars.
613
00:29:12,006 --> 00:29:14,133
And Ben grabbed onto that idea
614
00:29:14,216 --> 00:29:16,761
and was like,
"Let's do that all over the ceiling,
615
00:29:16,844 --> 00:29:19,013
"and I'll shoot lights into it
and make them glow."
616
00:29:19,096 --> 00:29:22,141
Yeah. This is a beautiful room
617
00:29:22,224 --> 00:29:24,268
and I did hide some Stephen King
up there on the shelf.
618
00:29:24,352 --> 00:29:25,353
You'll see it later in one shot.
619
00:29:25,519 --> 00:29:28,105
GREEN: Such a massive King fan,
you can't not have...
620
00:29:28,356 --> 00:29:30,650
BOONE: I see Tommyknockers up there
and Dark Ha“ behind it.
621
00:29:30,733 --> 00:29:31,734
GREEN: Yeah, yeah.
622
00:29:31,817 --> 00:29:34,445
-I can see Hazel reading some King.
-I think so.
623
00:29:34,528 --> 00:29:37,323
I can see her reading some Came
and all that.
624
00:29:37,406 --> 00:29:38,407
I buy it.
625
00:29:38,532 --> 00:29:41,452
I love the progression we went through
626
00:29:41,535 --> 00:29:44,163
to get to these final e-mail images on
the wall.
627
00:29:44,246 --> 00:29:45,539
We just didn't wanna spend a lot of time
628
00:29:45,623 --> 00:29:47,124
shooting into phones
or shooting into computers.
629
00:29:47,208 --> 00:29:50,461
We were worried
that it just wouldn't feel very modern.
630
00:29:51,295 --> 00:29:52,296
GREEN: Yeah.
631
00:29:52,505 --> 00:29:55,758
-BOONE: That's about the extent of it.
-Right.
632
00:29:55,883 --> 00:29:59,971
BOONE: They're so wonderful together.
Shai and Laura became such good friends.
633
00:30:00,054 --> 00:30:05,476
They had a little vacation together
in Hawaii prior to shooting, right?
634
00:30:05,559 --> 00:30:10,314
GREEN: Yeah, and then Shai is now
such good friends not just with Laura,
635
00:30:10,398 --> 00:30:11,565
but cooks for the kids.
636
00:30:11,649 --> 00:30:13,192
BOONE: And checks on them
when Laura's out of town.
637
00:30:13,275 --> 00:30:15,736
GREEN: We all got pretty close
to the kids actually.
638
00:30:15,820 --> 00:30:18,823
Laura's daughter
started an Instagram series for me,
639
00:30:18,906 --> 00:30:20,908
called Instagramming with an 8-year-old.
640
00:30:21,909 --> 00:30:23,828
So, that's what I did
while you were working, Josh.
641
00:30:23,911 --> 00:30:25,621
I was Instagramming with an 8-year-old.
642
00:30:26,414 --> 00:30:28,499
It was great fun, though.
643
00:30:29,792 --> 00:30:30,793
BOONE: I love her there.
644
00:30:30,918 --> 00:30:33,170
This is one of my favorite
Laura moments in the movie.
645
00:30:33,254 --> 00:30:35,464
Her sadness when she walks away.
646
00:30:35,548 --> 00:30:38,175
She makes a little sound and she says...
647
00:30:39,301 --> 00:30:40,302
Uh...
648
00:30:45,599 --> 00:30:47,518
GREEN: Yeah. It's such a difficult thing
649
00:30:47,601 --> 00:30:50,855
when all you want is to give your kid
what she wants and you can't.
650
00:30:50,980 --> 00:30:52,898
BOONE: And you can't, yeah.
651
00:30:52,982 --> 00:30:56,152
Because usually I can give my daughter
anything she needs at any time,
652
00:30:56,235 --> 00:30:58,195
but if something was wrong with her,
how would you feel?
653
00:30:58,279 --> 00:30:59,780
GREEN: Right.
And if you didn't have the resources
654
00:30:59,864 --> 00:31:02,867
to provide for her dreams, it's just difficult.
655
00:31:02,950 --> 00:31:04,285
BOONE: Yeah.
656
00:31:05,745 --> 00:31:08,622
-There's Beth back there. Beth is fantastic.
-Yeah. There's Beth.
657
00:31:08,706 --> 00:31:11,542
BOONE: I can't tell
who's walking beside her.
658
00:31:11,625 --> 00:31:13,044
GREEN: Everybody in the support group
was so great.
659
00:31:13,127 --> 00:31:16,297
I thought it was so useful
to have them on set.
660
00:31:16,380 --> 00:31:21,594
Because it was a constant reminder
that these people are people.
661
00:31:22,803 --> 00:31:26,348
And that our responsibility was
to try to tell a story that was about people,
662
00:31:26,432 --> 00:31:27,391
complex people.
663
00:31:27,475 --> 00:31:29,977
BOONE: You could've followed any single
one of those kids at a support group
664
00:31:30,061 --> 00:31:31,312
and been with them instead of Hazel,
665
00:31:31,979 --> 00:31:34,106
and I'm sure
there was some fascinating story.
666
00:31:34,190 --> 00:31:36,275
And the fascinating story
wasn't primarily about cancer.
667
00:31:36,358 --> 00:31:37,359
BOONE: About cancer, yeah.
668
00:31:38,486 --> 00:31:42,823
Even here we added this bit of voiceover
at the suggestion of my editor.
669
00:31:42,907 --> 00:31:46,494
With just a little butterflies in the stomach,
waiting for...
670
00:31:46,619 --> 00:31:49,413
She's about to go see Ansel,
I'm like, "She's just nervous."
671
00:31:49,497 --> 00:31:52,333
And you just wanted that
fluttery Wonder Years feeling.
672
00:31:52,416 --> 00:31:53,501
GREEN: Yeah.
673
00:31:54,502 --> 00:31:55,628
I mean, I'll tell you what.
674
00:31:55,711 --> 00:31:59,048
My friends in Indianapolis, the thing
that they like most about the movie
675
00:31:59,131 --> 00:32:02,343
is that I got a Rik Smits jersey
into a Hollywood movie.
676
00:32:02,426 --> 00:32:04,220
-BOONE: There it is.
-A real Rik Smits jersey.
677
00:32:04,303 --> 00:32:06,806
-BOONE: It's right there.
-Hazel's dad is as impressed as I am.
678
00:32:06,889 --> 00:32:08,516
BOONE: This was our very
first day of shooting.
679
00:32:08,599 --> 00:32:09,975
GREEN: Yeah.
680
00:32:10,059 --> 00:32:13,521
BOONE: The line, "Do you want
to come with me to a picnic?"
681
00:32:13,604 --> 00:32:17,942
I think was also part of the key to getting
Gus right was the way he asked her that.
682
00:32:18,025 --> 00:32:19,276
Ansel and I worked on that for a while.
683
00:32:19,360 --> 00:32:22,113
And after he had said that,
he was off to the races.
684
00:32:22,196 --> 00:32:25,866
'Cause he got the level of confidence
that he needed to be.
685
00:32:25,950 --> 00:32:28,244
GREEN: Yeah, and the cadence
was right, everything.
686
00:32:28,327 --> 00:32:29,995
BOONE: She's such a strong, powerful actor.
687
00:32:30,079 --> 00:32:33,707
You've got to come in strong
just to keep her engaged.
688
00:32:34,083 --> 00:32:38,712
GREEN: The first time I saw Shai and Ansel,
even when I saw their audition tape,
689
00:32:39,380 --> 00:32:42,299
I really felt like it was...
690
00:32:42,383 --> 00:32:43,801
There's a really great line
in a Philip Roth novel,
691
00:32:43,884 --> 00:32:44,927
"The thing isn't owning the person,
692
00:32:45,010 --> 00:32:47,429
"the thing is having a contender
in the room with you."
693
00:32:47,513 --> 00:32:50,307
And I felt like Shai
had a contender in the room with her.
694
00:32:50,391 --> 00:32:54,019
That's what the movie needed
to really work.
695
00:32:54,103 --> 00:32:58,190
BOONE: Yeah. I mean, his comic timing
just even there, with Sam is...
696
00:32:58,941 --> 00:33:02,236
We were very lucky
to have everybody we had in this film.
697
00:33:02,319 --> 00:33:06,157
That's mostly just feeling lucky.
I just can't believe we all got to make this
698
00:33:06,240 --> 00:33:07,950
and we had such wonderful people come
and do it.
699
00:33:08,033 --> 00:33:09,034
GREEN: Yeah.
700
00:33:09,118 --> 00:33:12,746
BOONE: It's just a testament
to the strength of the story.
701
00:33:12,830 --> 00:33:17,334
You could go do it as a musical,
as a puppet show,
702
00:33:17,418 --> 00:33:19,295
and people would like it
because the story is there.
703
00:33:19,378 --> 00:33:21,839
-GREEN: I'd love to see it as a puppet show.
-As a puppet show, we shot puppets.
704
00:33:21,922 --> 00:33:24,925
GREEN: If you wanna make a sequel,
I think I've got an idea for you.
705
00:33:25,092 --> 00:33:29,722
BOONE: I love this moment between them
just to reinforce that Hazel is not well.
706
00:33:29,847 --> 00:33:34,977
GREEN: Yeah. This is another scene that's
taken pretty much directly from the book.
707
00:33:35,060 --> 00:33:36,187
I mean, almost every scene is. Really is.
708
00:33:36,270 --> 00:33:39,523
BOONE: Almost every scene in the movie
is taken directly from the book.
709
00:33:39,607 --> 00:33:40,733
GREEN: Yeah.
710
00:33:41,400 --> 00:33:43,777
BOONE: And here we go, off to Funky Bones.
711
00:33:44,028 --> 00:33:45,529
This was a long process,
712
00:33:45,613 --> 00:33:51,577
just to get permission to build
a scale model of Funky Bones in Pittsburgh.
713
00:33:53,787 --> 00:33:56,582
It was a long, involved process
that had to be destroyed afterwards
714
00:33:56,665 --> 00:34:00,211
-because there's only supposed to be one.
-Right.
715
00:34:00,294 --> 00:34:03,380
BOONE: But, yeah,
we took it out to this park in Pittsburgh
716
00:34:03,464 --> 00:34:06,175
and tried to make it as close as we could
to Indianapolis.
717
00:34:06,258 --> 00:34:08,761
GREEN: I mean,
they recreated it so perfectly.
718
00:34:08,844 --> 00:34:12,473
My wife actually curated the Funky Bones.
719
00:34:13,015 --> 00:34:16,560
And I put in the book partly as sort of a...
720
00:34:16,644 --> 00:34:18,604
-BOONE: A little wink to the wife.
-A little wink to her.
721
00:34:18,687 --> 00:34:23,192
And we certainly... Neither of us
ever imagined that it would be in a movie.
722
00:34:24,068 --> 00:34:25,736
But they did such a good job
of recreating it.
723
00:34:25,819 --> 00:34:27,780
Sarah was on set that day,
724
00:34:27,947 --> 00:34:32,034
and she looked at it from 3 feet away
and said, "| can't tell the difference."
725
00:34:32,159 --> 00:34:33,452
BOONE: It's incredible.
726
00:34:33,535 --> 00:34:35,246
GREEN: I thought the props team
did an amazing job of Funky Bones.
727
00:34:35,329 --> 00:34:37,414
-BOONE: They did.
-One of the weirdest things is
728
00:34:37,498 --> 00:34:40,793
we're about to see the best shot of
Funky Bones that will ever exist, right here.
729
00:34:40,876 --> 00:34:42,795
And it's not of the actual Funky Bones.
730
00:34:42,878 --> 00:34:45,339
-BOONE: No.
-But you would hardly know it.
731
00:34:45,422 --> 00:34:46,966
There's Wyatt. Do you see Wyatt?
732
00:34:47,049 --> 00:34:48,092
BOONE: There's Wyatt,
he's not in the movie.
733
00:34:48,175 --> 00:34:49,385
GREEN: In the orange sweater.
734
00:34:49,468 --> 00:34:50,970
-BOONE: He's sort of in the movie.
-He's sort of in the movie.
735
00:34:51,053 --> 00:34:52,263
I just saw him.
736
00:34:52,346 --> 00:34:55,182
BOONE: And that was no fault of Wyatt's.
737
00:34:55,266 --> 00:34:58,769
It was really just we never really got
that button to work.
738
00:34:58,852 --> 00:35:01,522
GREEN: No. I mean, I actually thought
that Wyatt's performance was fantastic.
739
00:35:01,605 --> 00:35:02,648
There was a kid who came in
740
00:35:02,731 --> 00:35:04,650
and interrupted them
as they were about to kiss.
741
00:35:04,733 --> 00:35:06,777
But it felt kind of Hollywood to me.
742
00:35:06,860 --> 00:35:10,489
BOONE: It did. It felt Hollywood.
And we out it so much further back,
743
00:35:10,572 --> 00:35:14,702
so we had a near-kiss during this scene
just because we weren't sure that
744
00:35:14,785 --> 00:35:16,620
maybe you'd need some romantic heat
745
00:35:16,704 --> 00:35:18,539
at this point in the movie
to even stay engaged.
746
00:35:18,622 --> 00:35:21,250
But we found that you didn't,
and we just ended on the hug.
747
00:35:21,333 --> 00:35:23,210
And it worked really well.
748
00:35:23,377 --> 00:35:27,673
GREEN: Yeah, I think it's much faster
to get you where you need to go.
749
00:35:28,340 --> 00:35:30,801
BOONE: And there was originally
a Dr. Maria scene that came after this.
750
00:35:30,884 --> 00:35:33,971
A scene where Hazel's with her mom
in the laundry room, we'll talk about later,
751
00:35:34,054 --> 00:35:37,182
and instead we just go straight
to that night of the emergency.
752
00:35:37,266 --> 00:35:38,309
GREEN: Right.
753
00:35:38,392 --> 00:35:41,061
BOONE: So, it was all getting them
to Amsterdam as quickly as we could.
754
00:35:43,981 --> 00:35:46,400
'Cause once you know
the promise of Amsterdam is there,
755
00:35:46,525 --> 00:35:48,777
it's like all the audience wants to do
is get there.
756
00:35:48,902 --> 00:35:50,154
So, it's just trying to get them there
as quickly as possible
757
00:35:50,821 --> 00:35:52,573
and hit all those beats that you need to hit.
758
00:35:53,824 --> 00:35:54,908
GREEN: Yeah.
759
00:35:55,993 --> 00:36:01,874
Yeah. So, when I originally wrote the story,
I imagined this happening on the ground.
760
00:36:03,083 --> 00:36:04,418
Which is much less realistic.
761
00:36:04,501 --> 00:36:08,714
It'd be much harder
for Gus to get up and down.
762
00:36:09,298 --> 00:36:14,845
And then also it's just much more visually
interesting to have it actually on the bones.
763
00:36:14,970 --> 00:36:17,014
BOONE: It wasn't scripted,
them sitting there,
764
00:36:17,097 --> 00:36:19,850
but I had said that it would be nice
if they were sitting on it,
765
00:36:19,933 --> 00:36:24,313
so when they go back in Funky Bones,
they'd be able to kind of sadly look out on...
766
00:36:25,105 --> 00:36:26,356
GREEN: They can't get there.
767
00:36:26,440 --> 00:36:29,443
BOONE: We were just worried about
the two scenes feeling too close visually.
768
00:36:29,526 --> 00:36:32,071
So, we were just trying to think of ways
to make them different enough
769
00:36:32,154 --> 00:36:33,864
that they would really have a different feel.
770
00:36:35,157 --> 00:36:36,867
Thank you!
771
00:36:39,912 --> 00:36:41,705
HAZEL".
And then this happened.
772
00:36:43,040 --> 00:36:47,503
BOONE: And that's one my very favorite
camera moves in the movie.
773
00:36:47,586 --> 00:36:49,880
Ben Richardson
was his own camera operator on this.
774
00:36:49,963 --> 00:36:53,383
He moved that camera
during the sequence beautifully.
775
00:36:53,467 --> 00:36:55,719
And that is a heavy camera
to have to wear around all day.
776
00:36:55,886 --> 00:36:58,263
It's very physically draining.
777
00:37:01,934 --> 00:37:06,230
So, this was a shot, no sound
and in slow mo.
778
00:37:09,691 --> 00:37:11,944
GREEN: This was very difficult to watch
being filmed.
779
00:37:12,027 --> 00:37:15,322
BOONE: Was it?
-I cried a lot. I just thought it was so...
780
00:37:16,657 --> 00:37:22,037
Sam and Laura and Shai,
they were so authentic to that experience.
781
00:37:22,121 --> 00:37:24,414
-BOONE: Yeah.
-It's difficult to watch.
782
00:37:29,503 --> 00:37:30,671
BOONE: So, that shot of Sam sitting down
was a split-screen.
783
00:37:30,796 --> 00:37:34,800
Because we needed Sam to sit down faster
in the take that we had, and he didn't.
784
00:37:35,134 --> 00:37:37,469
So, we split the screen
and used another take
785
00:37:37,678 --> 00:37:39,263
to have him sit down
whenever we wanted to.
786
00:37:39,346 --> 00:37:45,018
There's about 50 split-screen shots in
the movie that all achieve things like that.
787
00:37:45,185 --> 00:37:47,229
Cutting between takes within takes
788
00:37:47,396 --> 00:37:50,274
where you didn't have one thing
on one side and one thing on the other.
789
00:37:50,482 --> 00:37:54,111
So, as my editor always says,
"Every trick in the book,"
790
00:37:54,361 --> 00:37:56,029
and it's seamless, you would never know.
791
00:37:56,113 --> 00:37:58,323
GREEN: No, I certainly didn't see it.
792
00:37:58,991 --> 00:38:03,537
Yeah, this is more dialogue
directly from the book.
793
00:38:03,620 --> 00:38:05,372
It was so weird to hear the dialogue,
794
00:38:05,455 --> 00:38:09,376
to hear Laura or Shai or Sam
say dialogue directly from the book,
795
00:38:09,459 --> 00:38:10,794
just like I imagined.
796
00:38:10,878 --> 00:38:12,754
BOONE: Yeah. Well, this here,
I was going to ask you about.
797
00:38:12,838 --> 00:38:15,299
'Cause this, for me, when I read it
and when I watched the movie,
798
00:38:15,382 --> 00:38:20,053
I feel really emotional when
he tries to see her and she tries to see him.
799
00:38:20,137 --> 00:38:24,016
And I wondered what your opinion
was about situations like this.
800
00:38:24,099 --> 00:38:27,352
Did you encounter things where kids
who clearly loved each other
801
00:38:27,436 --> 00:38:28,979
were kind of kept out of hospital rooms
802
00:38:29,062 --> 00:38:31,148
and what does that mean to you?
803
00:38:31,231 --> 00:38:32,983
GREEN: I did encounter that.
804
00:38:33,066 --> 00:38:36,612
And a lot of times
families imagine narrowly...
805
00:38:37,821 --> 00:38:41,033
Especially sometimes
because of hospital rules,
806
00:38:41,116 --> 00:38:43,327
sometimes because parents don't think
807
00:38:43,410 --> 00:38:47,039
that the boyfriend or girlfriend
should be there
808
00:38:47,122 --> 00:38:49,625
for these critical moments in a kid's life.
809
00:38:49,708 --> 00:38:52,085
That's fair. I think that's fair.
810
00:38:53,587 --> 00:38:57,049
And then later,
Hazel's in the same situation with Gus.
811
00:38:57,132 --> 00:39:00,052
It's just very difficult
because you love this person,
812
00:39:00,135 --> 00:39:03,180
you want to be there with them
in this very important moment,
813
00:39:03,263 --> 00:39:04,723
but it's complicated.
814
00:39:04,806 --> 00:39:07,351
BOONE: Yeah, it reminded me the most,
surprisingly,
815
00:39:07,434 --> 00:39:11,688
of homosexual couples
who can't see each other in the hospital.
816
00:39:11,772 --> 00:39:13,899
For some reason it reminded me of that.
817
00:39:13,982 --> 00:39:16,360
This is one of my favorite moments
in the movie.
818
00:39:16,443 --> 00:39:20,614
This I talked about when I came in
and pitched Fox.
819
00:39:21,031 --> 00:39:23,158
This kind of moment,
where she goes into flashback.
820
00:39:24,409 --> 00:39:25,994
-Yeah.
-This is the hardest.
821
00:39:26,078 --> 00:39:27,996
BOONE: This is the one that's tough.
822
00:39:28,080 --> 00:39:30,874
Laura came in, we did maybe two takes
and that was it.
823
00:39:30,999 --> 00:39:33,710
And it was the first take that's in the film.
824
00:39:34,795 --> 00:39:37,547
She was so powerful that day
and so on point.
825
00:39:37,631 --> 00:39:41,218
We were in and out
because she came in ready to go.
826
00:39:41,426 --> 00:39:43,595
GREEN: I was glad you didn't have to
film that again. It was brutal.
827
00:39:43,679 --> 00:39:47,849
BOONE". Well, it was like Shai crying in bed,
we tried to keep it to a minimum.
828
00:39:47,975 --> 00:39:51,353
'Cause it's so emotionally taxing for them.
It just is.
829
00:39:51,645 --> 00:39:53,480
GREEN: That was something
that someone really
830
00:39:53,563 --> 00:39:55,274
said to me when I worked at the hospital.
831
00:39:55,857 --> 00:39:56,858
BOONE: Was it?
-Yeah.
832
00:39:57,651 --> 00:39:59,528
And it always stuck with me and really...
833
00:39:59,611 --> 00:40:02,155
BOONE: Such a real thing to say.
Such an honest thing to say.
834
00:40:02,239 --> 00:40:08,412
GREEN: Yeah, such an exposed thing to say
and then such a difficult thing to imagine.
835
00:40:08,495 --> 00:40:10,163
BOONE: Well, people think
uncomfortable things all the time.
836
00:40:10,247 --> 00:40:14,418
And I think it's like being okay with the fact
that people have thoughts like that.
837
00:40:14,501 --> 00:40:17,295
And that's actually what makes fiction
more credible and makes it more real
838
00:40:17,379 --> 00:40:19,381
is when those moments are in there,
'cause everybody is so terribly flawed.
839
00:40:20,799 --> 00:40:23,218
-GREEN: Right.
-No matter who they are.
840
00:40:23,301 --> 00:40:26,304
GREEN: It's exactly like Hazel's mom says
at the end of the movie.
841
00:40:26,388 --> 00:40:31,435
"| was wrong. I may have thought that,
but I was wrong."
842
00:40:31,643 --> 00:40:34,563
"Even when you die, I'll still be
your mother. I'll always be your mother."
843
00:40:34,646 --> 00:40:36,148
-BOONE: Yeah.
-It's a beautiful line.
844
00:40:36,231 --> 00:40:37,441
I'm saying that because it's not in the book.
845
00:40:37,524 --> 00:40:40,986
I don't want you guys to think
that I'm that pleased with myself.
846
00:40:41,069 --> 00:40:43,321
As Scott and Mike and Laura.
847
00:40:44,072 --> 00:40:46,992
(WHISPERS)
Hi. Gus... again.
848
00:40:49,536 --> 00:40:51,329
Sorry, she's asleep.
849
00:40:52,080 --> 00:40:52,956
Yeah. Uh, okay.
850
00:40:53,915 --> 00:40:55,792
All right. Bye-bye.
851
00:41:00,881 --> 00:41:02,132
I know what
you're thinking.
852
00:41:03,967 --> 00:41:04,968
It's not fair to him.
853
00:41:05,052 --> 00:41:09,139
BOONE: In this very next scene outside,
I'll tell you about the first day of shooting
854
00:41:09,222 --> 00:41:12,851
just so people listening could have an idea
of how many things we shot in a day.
855
00:41:13,018 --> 00:41:18,231
So, in the first day of shooting, we shot
the limo arrival, which is coming up soon.
856
00:41:18,607 --> 00:41:21,943
That was how we started, I believe,
was Ansel popping out of the limo.
857
00:41:22,027 --> 00:41:28,158
Then we did the car arriving
from this scene you just saw,
858
00:41:28,283 --> 00:41:31,203
where it comes off the tree
and we're on her in the back seat.
859
00:41:31,328 --> 00:41:33,413
Then we shot Ansel there with flowers.
860
00:41:33,538 --> 00:41:35,332
-GREEN: With tulips.
-With tulips.
861
00:41:35,415 --> 00:41:36,750
And then after we shot Ansel with tulips,
862
00:41:36,833 --> 00:41:39,294
we came out here to the backyard
and we shot this scene,
863
00:41:39,377 --> 00:41:43,799
which was the most problematic scene
in the movie to color after the fact
864
00:41:43,882 --> 00:41:46,843
because we were there at night
shooting the end of this scene.
865
00:41:46,927 --> 00:41:50,806
GREEN: It was fun shooting nighttime
and there were 500 million cicadas.
866
00:41:50,889 --> 00:41:55,393
That's my memory is that it was 10:00
at night and there were a lot of cicadas.
867
00:41:55,477 --> 00:41:57,312
BOONE: There was a point
where I think we heard a train.
868
00:41:57,395 --> 00:42:01,108
The sound guy was like, "If you can hear
the train over the cicadas for the sound..."
869
00:42:01,191 --> 00:42:03,318
I was like,
"ls the sound going to get ruined?"
870
00:42:03,401 --> 00:42:08,865
And, yes, we shot this very quickly.
This was a 35-day shoot.
871
00:42:09,282 --> 00:42:12,702
My first movie, Stuck in Love,
was a 19-day shoot.
872
00:42:12,786 --> 00:42:15,455
And even at 35 days,
this is such dense material,
873
00:42:15,539 --> 00:42:18,667
and there are so many montages
and insert shots.
874
00:42:18,750 --> 00:42:21,962
And there's just a lot.
So, we shot a lot every day.
875
00:42:22,129 --> 00:42:25,215
Every day was no downtime.
876
00:42:25,298 --> 00:42:28,343
(STAMMERING)
877
00:42:28,426 --> 00:42:30,679
You had to have a lot of energy
to get through a shoot like this.
878
00:42:30,762 --> 00:42:33,098
We had to visit craft services often
for sugar.
879
00:42:33,181 --> 00:42:35,684
GREEN: Yeah,
fortunately we had amazing food.
880
00:42:35,767 --> 00:42:37,561
I have to say, I did no work at all.
881
00:42:37,644 --> 00:42:40,605
But it sounds like
everyone else was working very hard.
882
00:42:40,689 --> 00:42:43,275
BOONE: No, the work you did
was the work...
883
00:42:43,358 --> 00:42:45,193
You didn't have to work to do the work.
884
00:42:45,277 --> 00:42:48,238
It was like giving us the confidence
that we were getting it right,
885
00:42:48,321 --> 00:42:49,990
I think, was the biggest part of it.
886
00:42:50,073 --> 00:42:51,950
GREEN: I think most directors
wouldn't have let me on the set.
887
00:42:52,033 --> 00:42:53,869
That's how
they would've solved that problem.
888
00:42:53,952 --> 00:42:58,582
BOONE: I don't know. You were so nice.
I mean, I have yet to meet an author...
889
00:42:58,665 --> 00:43:01,001
Out of the two that I know
that are successful authors
890
00:43:01,084 --> 00:43:03,253
that aren't amazing human beings.
891
00:43:03,336 --> 00:43:05,338
-GREEN: That's kind of you.
-So, I've been very lucky.
892
00:43:05,422 --> 00:43:06,756
GREEN: Thanks for putting me
on par with King.
893
00:43:06,840 --> 00:43:08,341
BOONE: But if I ever have to throw one off...
894
00:43:08,425 --> 00:43:10,135
GREEN: If you had to throw one off the boat,
it would be me.
895
00:43:10,218 --> 00:43:14,556
BOONE: No. If I ever have to throw
an author off the set, I'll call and tell you.
896
00:43:14,639 --> 00:43:15,640
GREEN: Yeah, I'd appreciate that.
897
00:43:15,724 --> 00:43:19,686
I can even come in and be like, "If Boone
doesn't think that you should be here..."
898
00:43:19,769 --> 00:43:20,812
BOONE: To have him to be removed.
899
00:43:20,896 --> 00:43:25,942
GREEN: "If Boone doesn't think you should
be here, you definitely shouldn't be here."
900
00:43:26,026 --> 00:43:28,069
I remember
this being the end of that first day
901
00:43:28,153 --> 00:43:30,405
and just thinking,
"ls every day going to be like this?"
902
00:43:30,488 --> 00:43:34,367
Because Shailene had to work so hard.
903
00:43:34,451 --> 00:43:36,119
BOONE: To get to this place emotionally.
904
00:43:36,203 --> 00:43:38,538
This was, I think,
the hardest scene for her in the movie.
905
00:43:38,622 --> 00:43:40,790
You'd be surprised to think
it wasn't some of the other ones.
906
00:43:40,874 --> 00:43:43,501
It took her a while to get here,
it was a long day.
907
00:43:43,627 --> 00:43:47,380
But when she got there,
I mean, she delivered the goods.
908
00:43:47,547 --> 00:43:50,425
GREEN: Yeah. And this was the second
or third day. I mean, this was very early.
909
00:43:50,508 --> 00:43:53,845
BOONE: Very early. Everything at the house
was shot in the first two weeks.
910
00:43:53,929 --> 00:43:57,307
I believe we did Hazel's house
and Gus' house in the first two weeks.
911
00:43:57,390 --> 00:44:00,143
And by the end of week two
we were getting into trophies and all that.
912
00:44:00,227 --> 00:44:03,355
And we kind of worked our way out of
the suburban neighborhood in Pittsburgh
913
00:44:03,480 --> 00:44:06,233
and then cast our nets a little wider.
914
00:44:09,236 --> 00:44:11,821
This is a scene we talked about a lot.
915
00:44:12,447 --> 00:44:15,450
I guess it's kind of slightly different
from what's in the book,
916
00:44:15,533 --> 00:44:21,248
but only to kind of give them a real feeling
of a disconnect and a breakup.
917
00:44:21,331 --> 00:44:24,668
And how did you feel about that?
I felt like you were pretty supportive of it.
918
00:44:24,751 --> 00:44:29,547
And felt like, from the structure of a film,
it kind of needed to be that way.
919
00:44:29,631 --> 00:44:32,425
Yeah, I think they needed
to physically be in the same place.
920
00:44:32,592 --> 00:44:35,762
-BOONE: Yeah.
-Yeah. It didn't feel different to me.
921
00:44:38,098 --> 00:44:40,392
BOONE: Yeah. Emotionally it feels the same,
which, I guess, is the key to all of it,
922
00:44:40,475 --> 00:44:43,770
to protect the tone and
the way it made you feel when you read it.
923
00:44:43,853 --> 00:44:46,523
GREEN: Right. I mean, these are
very, very small changes.
924
00:44:46,606 --> 00:44:48,608
And so, they didn't make me anxious.
925
00:44:48,692 --> 00:44:50,318
The important thing to me was
926
00:44:50,443 --> 00:44:53,446
the preservation
of the themes, the ideas, the tone.
927
00:44:53,613 --> 00:44:54,656
BOONE: Yeah.
928
00:44:54,739 --> 00:44:58,159
GREEN: And I knew from a fan perspective,
it would be important to them
929
00:44:58,243 --> 00:45:01,288
to preserve some of the lines
and the basic story structure.
930
00:45:01,371 --> 00:45:05,834
But I was much more concerned of,
"Can you make a Hollywood movie..."
931
00:45:05,917 --> 00:45:08,295
BOONE: About what this is actually about
and what this is saying.
932
00:45:08,378 --> 00:45:09,796
GREEN: Yeah.
Without making it sentimentalized.
933
00:45:09,879 --> 00:45:10,964
BOONE: Yeah.
934
00:45:11,047 --> 00:45:12,799
GREEN". So, that was my only worry.
935
00:45:12,882 --> 00:45:15,427
And I think you did a very good job.
936
00:45:16,219 --> 00:45:19,055
BOONE: Everybody,
we all worked really hard on it.
937
00:45:19,139 --> 00:45:22,225
Now you've been working for the movie
'cause you're out there talking all the time.
938
00:45:22,309 --> 00:45:26,313
-GREEN: I've done my pan' now.
-You've done your pan' now.
939
00:45:26,396 --> 00:45:28,148
-This is great. I love all these texts.
-Yeah.
940
00:45:28,231 --> 00:45:31,651
BOONE". And you just look at Shai
performing against a blank screen.
941
00:45:31,735 --> 00:45:34,195
This is all done after the fact.
942
00:45:35,071 --> 00:45:39,534
Yeah, even by herself
she can command the frame.
943
00:45:40,327 --> 00:45:43,371
GREEN: Yeah. She is truly extraordinary.
944
00:45:43,455 --> 00:45:47,042
BOONE". She's an extraordinary actress
and an extraordinary human being.
945
00:45:49,919 --> 00:45:51,838
The funny thing about Shai
is when I met her for the first time.
946
00:45:52,005 --> 00:45:54,841
I was like, "No, this can't be real.
This is an act."
947
00:45:55,008 --> 00:45:59,429
Getting to know her, what you realize is,
"It's not. It's me. I'm cynical."
948
00:45:59,512 --> 00:46:01,931
And I forgot how idealistic you can be
when you're that age.
949
00:46:02,015 --> 00:46:04,351
She is the real deal.
950
00:46:04,434 --> 00:46:06,394
The girl that you see interviewed
is the girl you get.
951
00:46:06,478 --> 00:46:10,106
-She is as authentic as it gets.
-Yeah.
952
00:46:10,190 --> 00:46:11,858
This is a great scene between them.
953
00:46:11,941 --> 00:46:13,610
BOONE: I just wanted to get
Laura in a towel.
954
00:46:14,611 --> 00:46:16,321
We joked about that often.
955
00:46:17,739 --> 00:46:21,159
Did you email the Genies
to tell them that the trip was off?
956
00:46:21,326 --> 00:46:23,119
Because Van Houten's
assistantjust emailed me...
957
00:46:23,286 --> 00:46:26,081
and she said that
she thinks we're still coming.
958
00:46:28,875 --> 00:46:30,168
What?
959
00:46:31,169 --> 00:46:34,172
I was supposed to tell you
with your dad.
960
00:46:34,923 --> 00:46:35,632
Mom.
961
00:46:35,924 --> 00:46:37,592
We're going to Amsterdam.
962
00:46:38,426 --> 00:46:41,221
You're se-...
We're going to Amsterdam?
963
00:46:41,388 --> 00:46:42,972
(LAUGHING)
We're going to Amsterdam.
964
00:46:43,139 --> 00:46:45,350
We figured
the whole thing out. We're going.
965
00:46:45,517 --> 00:46:47,852
Doctor Maria,
everybody knows.
966
00:46:48,478 --> 00:46:50,647
-BOONE: This is a great hug.
-Yeah.
967
00:46:50,855 --> 00:46:53,733
BOONE: Laura's other arm
is holding her towel up.
968
00:46:53,858 --> 00:46:54,818
GREEN: I'm sure
that looked weird in the edit.
969
00:46:54,901 --> 00:46:56,611
BOONE: It did look a little weird for us.
970
00:46:56,694 --> 00:47:01,282
GREEN: Yeah. But that's an important arm,
from a PG-13 perspective.
971
00:47:01,366 --> 00:47:03,451
BOONE: Yes, it is. It's important.
972
00:47:08,039 --> 00:47:11,334
Well, this is, for me, the culmination
973
00:47:11,418 --> 00:47:15,839
of Laura really helping create happiness
in her daughter's life for her.
974
00:47:18,133 --> 00:47:22,804
This song cue coming up, this was
the most difficult spot to find a song for
975
00:47:22,887 --> 00:47:26,516
because we needed it
to hit three different things.
976
00:47:26,599 --> 00:47:29,978
It's Hazel here in the room,
then you cut to them coming out the door,
977
00:47:30,061 --> 00:47:31,855
then you cut again on Gus in the limo.
978
00:47:31,938 --> 00:47:34,983
And you want the limo cut
to be like the song explodes
979
00:47:35,066 --> 00:47:37,944
and everything's charging along.
980
00:47:38,027 --> 00:47:40,738
We tried so many songs here.
981
00:47:40,864 --> 00:47:43,616
Half of us might have loved one,
some of us liked others.
982
00:47:43,700 --> 00:47:48,955
But we ended up having Grouplove
do this song originally for us.
983
00:47:49,038 --> 00:47:53,376
And they did a great job giving us those
hits when we needed them editorially.
984
00:47:53,460 --> 00:47:55,670
We just needed help here
to get past these cuts.
985
00:47:55,753 --> 00:47:57,922
GREEN: In that situation, did they watch
the scene and then write a song?
986
00:47:58,006 --> 00:47:59,549
BOONE: They will write it to the scene
987
00:47:59,632 --> 00:48:03,052
and then they did a full version of it
for the soundtrack.
988
00:48:03,136 --> 00:48:07,265
So, it's two different versions almost
989
00:48:07,432 --> 00:48:10,310
which is the same with the Birdy song.
990
00:48:10,560 --> 00:48:14,355
The song near the end,
where she's in the car,
991
00:48:14,439 --> 00:48:17,609
Birdy rushed home from seeing the movie
992
00:48:17,692 --> 00:48:20,570
and went and recorded
the demo immediately.
993
00:48:21,988 --> 00:48:24,741
And that's what we used.
It's a beautiful song.
994
00:48:24,824 --> 00:48:26,576
GREEN: This is the very first thing
that was ever filmed.
995
00:48:26,659 --> 00:48:29,996
BOONE: The very first thing that was shot,
yeah. This was the first shot.
996
00:48:30,079 --> 00:48:32,540
GREEN: It's the first thing I saw.
I remember bursting into tears
997
00:48:32,624 --> 00:48:35,835
when I saw them walk out of that house
for the first time.
998
00:48:35,919 --> 00:48:38,880
BOONE: And then you must've loved
Ansel popped up out of the hood.
999
00:48:38,963 --> 00:48:40,715
GREEN: Yeah. You see a little bit of midriff.
1000
00:48:40,798 --> 00:48:44,093
BOONE". A little midriff.
That was my wink, like a little...
1001
00:48:45,386 --> 00:48:48,306
GREEN: I love that it's not a fancy limo.
It's an older limo.
1002
00:48:48,389 --> 00:48:50,642
-BOONE: It feels like what he could afford.
-It's an Indianapolis limo.
1003
00:48:50,642 --> 00:48:53,895
BOONE: Or what they would've got him.
-Yeah.
1004
00:48:57,857 --> 00:49:00,360
BOONE: And this, this originally went on
quite a bit longer.
1005
00:49:00,443 --> 00:49:03,446
There's an extension of this where
1006
00:49:03,529 --> 00:49:06,741
we get all the way
up to Sam being left out on the lawn.
1007
00:49:06,824 --> 00:49:09,953
I want to point out here, this is Jake Braver
sitting behind Ansel and Shai.
1008
00:49:10,036 --> 00:49:12,830
-GREEN: Yeah. The visual effects supervisor.
-He's our visual effects supervisor.
1009
00:49:13,539 --> 00:49:15,333
When I was asked
to give him his motivation for this scene,
1010
00:49:15,416 --> 00:49:17,835
I told him he was a drug mule,
1011
00:49:17,919 --> 00:49:19,671
which he was delighted to have
some backstory.
1012
00:49:22,465 --> 00:49:23,716
(GREEN STAMMERING)
1013
00:49:23,800 --> 00:49:25,468
BOONE: It's actually Jake Braver
sitting in a plane
1014
00:49:25,551 --> 00:49:28,680
with his visual effect shot
outside the window beside him.
1015
00:49:28,763 --> 00:49:30,390
GREEN: Right. He did a great job.
1016
00:49:30,473 --> 00:49:32,183
He sent me this visual effect shot,
1017
00:49:32,267 --> 00:49:35,436
he included the Indianapolis airport
in the background, just for me.
1018
00:49:35,520 --> 00:49:36,521
BOONE: Yeah, just for you.
1019
00:49:36,604 --> 00:49:40,650
GREEN: He said, "This isn't necessary.
But I thought that you'd want to know."
1020
00:49:40,733 --> 00:49:43,027
So, let's all appreciate
Jake's work here for a moment,
1021
00:49:43,111 --> 00:49:45,989
that he was kind enough to take shots
1022
00:49:46,072 --> 00:49:48,574
of what you actually see
when you're taking off in Indianapolis.
1023
00:49:48,658 --> 00:49:50,535
BOONE: Yes, he pays attention to details.
1024
00:49:50,618 --> 00:49:52,787
And this is actually
one of my favorite moments
1025
00:49:52,870 --> 00:49:56,374
when I read the book for the first time,
was this.
1026
00:49:56,457 --> 00:49:57,834
-I thought was...
-Vulnerability.
1027
00:49:57,917 --> 00:50:00,920
BOONE: Yeah, like,
it was just a very special thing.
1028
00:50:01,337 --> 00:50:07,010
And finding an actor to pull this off
and not feel forced is really tough.
1029
00:50:07,093 --> 00:50:12,098
He really captured the purity
of that moment of flying for the first time.
1030
00:50:12,265 --> 00:50:14,392
GREEN: Jake is really sleeping
through his drug mule-ing.
1031
00:50:14,475 --> 00:50:16,853
BOONE: He's probably asleep.
That's why nobody would suspect him.
1032
00:50:16,936 --> 00:50:18,146
-GREEN: He's not stressed out at all.
-No.
1033
00:50:18,229 --> 00:50:20,732
GREEN: Given the fact that
he's trying to sneak drugs into Amsterdam.
1034
00:50:20,815 --> 00:50:23,484
Which, by the way,
doesn't seem like a good business model.
1035
00:50:23,568 --> 00:50:26,529
BOONE: Doesn't seem, yeah.
I think there's plenty there.
1036
00:50:26,612 --> 00:50:28,740
GREEN". I love that smile from Shai.
1037
00:50:29,449 --> 00:50:31,284
BOONE: Yeah. Yeah.
1038
00:50:31,367 --> 00:50:35,371
GREEN: The way that she looks at Gus
in this movie is just so sweet.
1039
00:50:35,455 --> 00:50:37,206
BOONE: So,
I put this in just 'cause I love Aliens,
1040
00:50:37,290 --> 00:50:38,875
and I felt like Gus would love Aliens.
1041
00:50:38,958 --> 00:50:42,378
And I wanted this exact moment.
1042
00:50:42,462 --> 00:50:45,048
-GREEN: In the book it's 300.
-It's 300.
1043
00:50:45,131 --> 00:50:48,593
GREEN: Which is a major American film.
1044
00:50:48,676 --> 00:50:52,555
So, I was a little offended
that you didn't include 300.
1045
00:50:52,638 --> 00:50:54,432
BOONE: It's not my cup of tea.
1046
00:50:54,515 --> 00:50:57,185
GREEN: I'm going to tell myself that
it was because you couldn't clear the rights
1047
00:50:57,310 --> 00:50:59,645
because they're so valuable,
because it's such an important movie.
1048
00:50:59,812 --> 00:51:02,357
BOONE: It's why. Well, you know, it wasn't
a Fox movie, so it was really tough.
1049
00:51:02,440 --> 00:51:03,566
GREEN: There you go. Thank you, Josh.
1050
00:51:03,649 --> 00:51:06,402
BOONE: But, no, Aliens is one of my faves.
1051
00:51:07,695 --> 00:51:09,197
GREEN'. And this is weird
1052
00:51:09,280 --> 00:51:11,699
because I can't tell
what's filmed in Pittsburgh
1053
00:51:11,783 --> 00:51:12,950
and what's filmed in Amsterdam.
1054
00:51:13,034 --> 00:51:14,994
BOONE: This was shot in Pittsburgh.
This is a green screen behind Shai,
1055
00:51:15,078 --> 00:51:16,829
and Jake put a window
in front of Shai's face.
1056
00:51:16,954 --> 00:51:21,334
And here Laura does not get out of the car.
It is a body double.
1057
00:51:21,501 --> 00:51:22,502
GREEN: Yup.
1058
00:51:22,752 --> 00:51:24,754
BOONE: Laura did not come
to Amsterdam for us.
1059
00:51:24,837 --> 00:51:26,798
This was the only shot we needed her for.
1060
00:51:26,881 --> 00:51:32,512
So, we spent a bit of time shooting
to get the angle right
1061
00:51:32,595 --> 00:51:34,222
so that it would blow right past you.
1062
00:51:34,305 --> 00:51:37,100
And then when you cut to inside,
we're in Pittsburgh,
1063
00:51:37,183 --> 00:51:40,269
inside a beautiful, beautiful hotel there.
1064
00:51:40,937 --> 00:51:43,689
Bed and breakfast or whatever.
1065
00:51:43,773 --> 00:51:45,608
GREEN: This place looks
so much like Amsterdam.
1066
00:51:45,691 --> 00:51:47,693
I mean, that was great location scouting.
1067
00:51:47,777 --> 00:51:51,406
BOONE: Great location scouting.
John Adkins was our location scout.
1068
00:51:51,489 --> 00:51:54,492
He worked tirelessly
to get us the locations that we needed.
1069
00:51:54,575 --> 00:51:58,621
He, like everybody else on this movie,
1070
00:51:58,704 --> 00:52:01,499
went above and beyond the call of duty
to try to help bring this story to life.
1071
00:52:03,751 --> 00:52:06,170
GREEN: And the amazing thing,
when I think about the crew,
1072
00:52:06,254 --> 00:52:10,466
is how much they seemed to be
making this movie from a place of passion
1073
00:52:10,550 --> 00:52:12,760
and genuinely caring about the story.
1074
00:52:12,844 --> 00:52:15,263
BOONE: They all had
a deeply personal connection to it.
1075
00:52:15,346 --> 00:52:17,640
I could tell you many stories
people told me,
1076
00:52:17,723 --> 00:52:21,185
who worked on set,
just why it was important to them.
1077
00:52:21,269 --> 00:52:23,688
This meant a lot more to them than...
1078
00:52:24,522 --> 00:52:27,567
-It wasn't just a job.
-Right. Yeah. It was really special.
1079
00:52:27,650 --> 00:52:33,990
Everybody in Pittsburgh was so generous
with their skill and talent and time.
1080
00:52:36,075 --> 00:52:38,828
BOONE: This is a nice moment.
This is all Laura Dem.
1081
00:52:38,911 --> 00:52:40,705
GREEN: Yeah, the blue dress.
1082
00:52:42,582 --> 00:52:47,378
BOONE: Yeah.
And, you know, this next scene
1083
00:52:49,213 --> 00:52:52,258
is probably one of my very favorite scenes
in the movie.
1084
00:52:52,341 --> 00:52:55,386
GREEN: To be fair though,
we 're 52 minutes in...
1085
00:52:55,470 --> 00:52:56,512
BOONE: I know.
I've got some favorite scenes.
1086
00:52:56,596 --> 00:52:59,515
...and you've defined the vast majority
of the movie as your favorite scene.
1087
00:52:59,599 --> 00:53:01,601
BOONE: All right, but there's more.
Well, this isn't my favorite scene.
1088
00:53:01,684 --> 00:53:05,480
But the scene
where they look at each other right here.
1089
00:53:05,563 --> 00:53:07,690
It's one of my favorite musical moments
in the movie
1090
00:53:07,773 --> 00:53:10,067
and it's one of my favorite
performance moments in the movie.
1091
00:53:10,234 --> 00:53:13,404
When they look at each other
here across the hotel
1092
00:53:13,696 --> 00:53:17,366
and their boat ride to dinner that night
I just think is...
1093
00:53:17,450 --> 00:53:21,329
In the script they don't go on a boat ride,
1094
00:53:21,412 --> 00:53:23,664
they sit on a park bench together
with an arm around each other.
1095
00:53:23,748 --> 00:53:26,792
My editor was, "They're in Amsterdam!
Why aren't they on a boat?"
1096
00:53:26,876 --> 00:53:29,462
And so I was like, "We got to be on a boat."
1097
00:53:29,837 --> 00:53:31,380
GREEN: Yeah, I'm so glad
they got on that boat.
1098
00:53:31,464 --> 00:53:33,090
BOONE: It opens the movie up so much.
1099
00:53:33,174 --> 00:53:34,300
This is what I love right here.
1100
00:53:34,383 --> 00:53:37,261
It's her little "thank you" right here
is maybe the cutest thing ever,
1101
00:53:37,345 --> 00:53:39,639
coming up at the very tail of this,
right before the cut.
1102
00:53:39,764 --> 00:53:40,890
GREEN: Yeah.
1103
00:53:42,558 --> 00:53:44,101
You look gorgeous.
1104
00:53:47,897 --> 00:53:49,023
Thanks.
1105
00:53:50,942 --> 00:53:53,903
BOONE: So, this is a song
by a band called Indians.
1106
00:53:53,986 --> 00:53:56,781
Season Kent brought them to my attention.
1107
00:53:56,864 --> 00:54:00,076
They had a song called Bird that we loved
that we couldn't fit in the film.
1108
00:54:00,159 --> 00:54:01,911
And we had a song
that we wanted in this spot
1109
00:54:01,994 --> 00:54:03,913
that we weren't able to clear the rights to.
1110
00:54:03,996 --> 00:54:08,668
And we had Indians
write an original piece for us.
1111
00:54:09,210 --> 00:54:10,503
I love this song so much.
1112
00:54:10,586 --> 00:54:14,674
And they went so above and beyond,
I think, what was even there before.
1113
00:54:15,341 --> 00:54:17,343
So, I love this a lot.
1114
00:54:17,426 --> 00:54:21,472
As you can see, it was dark and dreary
when we shot in Amsterdam.
1115
00:54:21,556 --> 00:54:23,182
(GREEN STAMMERING)
1116
00:54:23,266 --> 00:54:26,727
BOONE: But doesn't the impending doom
that's to come...
1117
00:54:26,811 --> 00:54:29,522
GREEN: Shailene has said
that she found it romantic.
1118
00:54:29,605 --> 00:54:33,109
And I think it's just a different vibe
than what we expected.
1119
00:54:33,192 --> 00:54:35,820
But that's the nature
of making a movie, maybe,
1120
00:54:35,903 --> 00:54:38,322
is that you have to work with the reality
as you find it.
1121
00:54:38,406 --> 00:54:39,615
BOONE: This is another one of my...
1122
00:54:39,699 --> 00:54:41,617
I'll say favorite shots
since I can't say favorite scenes,
1123
00:54:41,701 --> 00:54:43,828
that down the hallway and up into this
was wonderful.
1124
00:54:43,911 --> 00:54:44,912
GREEN: This is another...
1125
00:54:44,996 --> 00:54:47,915
Molly did an amazing job making
this restaurant happen very, very quickly.
1126
00:54:47,999 --> 00:54:52,461
BOONE: Yeah. Yes, she did. This was
above a bar. It was an empty space.
1127
00:54:54,046 --> 00:54:58,301
Molly went to Amsterdam
to look at the exteriors of restaurants
1128
00:54:58,384 --> 00:55:01,053
that we could potentially shoot outside at
at night.
1129
00:55:01,137 --> 00:55:04,473
And we found,
just from a lighting standpoint,
1130
00:55:04,557 --> 00:55:06,684
for Ben it was a black hole at night.
1131
00:55:06,767 --> 00:55:12,315
There was just not enough lighting.
To light a canal or an entire street
1132
00:55:12,398 --> 00:55:15,693
was incredibly problematic
from a monetary standpoint.
1133
00:55:15,776 --> 00:55:19,864
So, we asked Molly if she could
bring the magic of Amsterdam inside.
1134
00:55:19,947 --> 00:55:21,407
GREEN: And she really did.
1135
00:55:21,532 --> 00:55:26,537
I love that she brought the trees,
and the lights as sort of stars.
1136
00:55:26,621 --> 00:55:27,955
BOONE: Yes.
1137
00:55:28,039 --> 00:55:31,876
The twinkly lights on the trees really did it.
I love twinkly lights.
1138
00:55:32,126 --> 00:55:37,256
This is one of the first scenes that I saw
when I came back from shooting
1139
00:55:37,423 --> 00:55:39,759
and sat down in the editing room,
this scene.
1140
00:55:39,842 --> 00:55:43,679
I would say,
other than some minor tightening
1141
00:55:43,804 --> 00:55:46,265
just to have it move faster,
it hasn't changed a bit.
1142
00:55:48,142 --> 00:55:51,771
My editor already had the approval of his
14-year-old daughter, who loved the book,
1143
00:55:51,854 --> 00:55:55,107
who burst into tears
when he showed her this scene,
1144
00:55:55,191 --> 00:55:57,610
when Ansel tells her that he loves her.
1145
00:55:58,194 --> 00:56:00,571
We got to point out the waiter here.
1146
00:56:00,696 --> 00:56:03,115
-Jean Brassard?
-Yeah.
1147
00:56:03,366 --> 00:56:05,993
BOONE: He came in
and I feel like he kind of steals
1148
00:56:06,077 --> 00:56:07,953
every moment that he shows up in.
1149
00:56:09,121 --> 00:56:13,459
GREEN: He's so great.
He is a French-language musician.
1150
00:56:14,085 --> 00:56:19,882
He was sort of in the middle
of being on the road with his show,
1151
00:56:19,965 --> 00:56:23,219
and came and did the movie,
and he was great!
1152
00:56:23,302 --> 00:56:26,389
BOONE: Wonderful. And the casting process
to find this man was...
1153
00:56:26,472 --> 00:56:29,475
To find the right waiter was a challenge.
1154
00:56:30,601 --> 00:56:32,770
We also had a great...
1155
00:56:32,853 --> 00:56:35,731
I'll point him out because he did good work
and he was only on set two days.
1156
00:56:35,815 --> 00:56:38,150
A Steadicam operator who assisted Ben.
1157
00:56:38,234 --> 00:56:42,988
All the moving shots in this scene
and in the Funky Bones scene he did.
1158
00:56:43,072 --> 00:56:45,616
And he also worked on my first film.
1159
00:56:47,159 --> 00:56:49,078
I think they're wonderful here.
1160
00:56:49,161 --> 00:56:50,496
How many teenage movies do you cut to
1161
00:56:50,621 --> 00:56:53,582
where they're having a conversation
about God and the afterlife...
1162
00:56:53,708 --> 00:56:55,000
GREEN: Yeah.
1163
00:56:55,167 --> 00:56:57,336
-...and oblivion and all that?
-Yeah.
1164
00:56:57,503 --> 00:57:00,798
I think that, for me,
that's what makes the movie special
1165
00:57:00,881 --> 00:57:03,467
is that it doesn't shy away
from that stuff in the book.
1166
00:57:03,551 --> 00:57:06,387
BOONE: Well, I think
it's what makes your writing special.
1167
00:57:08,514 --> 00:57:10,933
I mean, you take
what teens think about seriously,
1168
00:57:11,016 --> 00:57:13,936
and have them have conversations
that I feel like I had when I was younger.
1169
00:57:14,019 --> 00:57:15,104
GREEN: Yeah, that's the thing.
1170
00:57:15,187 --> 00:57:18,524
I wasn't a particularly good student
or particularly impressive or anything,
1171
00:57:18,607 --> 00:57:21,986
but I was very intellectually curious and
had lots of conversations with my friends
1172
00:57:22,069 --> 00:57:26,115
that were engaged and thoughtful
and deep.
1173
00:57:26,198 --> 00:57:29,535
And I wasn't particularly smart.
1174
00:57:29,660 --> 00:57:33,122
But I think all teenagers
are thinking about that stuff.
1175
00:57:33,247 --> 00:57:36,584
They're thinking about it as sort of
sovereign beings for the first time,
1176
00:57:36,667 --> 00:57:38,586
so there's an excitement
about those conversations.
1177
00:57:38,669 --> 00:57:40,296
BOONE: It's like you're trying to take control
1178
00:57:40,379 --> 00:57:42,757
of your life in a house
where nothing is yours.
1179
00:57:42,840 --> 00:57:43,883
GREEN: Right.
1180
00:57:43,966 --> 00:57:45,926
BOONE: Nothing belongs to you.
It's all your parents'.
1181
00:57:46,010 --> 00:57:47,219
And you're trying to figure out
who you are as a human being,
1182
00:57:48,387 --> 00:57:51,056
and you capture that so well.
1183
00:57:51,140 --> 00:57:56,353
When I pitched this to Fox, I pitched it
as Titanic and cancer was the iceberg.
1184
00:57:56,437 --> 00:58:00,274
And we'd hit the iceberg eventually, but it
had to be about the love story and the boat.
1185
00:58:00,357 --> 00:58:02,860
And that, for me,
was what the book felt like.
1186
00:58:02,943 --> 00:58:07,740
Like an intimate epic
about these interior lives of these people.
1187
00:58:07,823 --> 00:58:12,411
Yeah. I'm very interested
in the star-crossed lovers genre,
1188
00:58:12,495 --> 00:58:15,915
but I wanted to write it, like you said,
like an intimate epic
1189
00:58:15,998 --> 00:58:21,462
so that the obstacle
wasn't war or poverty or disease.
1190
00:58:22,421 --> 00:58:25,424
It's usually about, like, family strife or war.
I wanted it to be disease
1191
00:58:25,508 --> 00:58:28,719
because disease is what actually
circumscribes almost all human lives.
1192
00:58:28,803 --> 00:58:31,096
BOONE: Yes.
1193
00:58:31,180 --> 00:58:32,598
I thought, too, Isaac mentioned...
1194
00:58:32,681 --> 00:58:33,933
The other night we were at a Q&A
1195
00:58:34,016 --> 00:58:35,893
and they were asking us
what our favorite books were.
1196
00:58:35,976 --> 00:58:38,395
And Isaac mentioned
The Unbearable Lightness of Being.
1197
00:58:38,479 --> 00:58:41,524
And that's a film I like a lot
and I've read the book.
1198
00:58:41,607 --> 00:58:44,860
I mean, still, it follows human beings.
1199
00:58:44,944 --> 00:58:49,198
It's not so much plot-driven as it is
driven by the desires of the characters,
1200
00:58:49,281 --> 00:58:51,742
which I think is the most...
1201
00:58:51,826 --> 00:58:53,702
It's like when you're writing
or when you're making a movie
1202
00:58:53,786 --> 00:58:56,747
that's what you always want it to feel like
is the characters are driving it
1203
00:58:56,831 --> 00:58:59,166
and there's not someone else driving it.
1204
00:58:59,250 --> 00:59:02,503
GREEN: Yeah, there's not a secret hand
that's moving these pieces around
1205
00:59:02,586 --> 00:59:03,671
so that it can serve the story.
1206
00:59:03,754 --> 00:59:07,883
BOONE: You want it to feel seamless
and feel like it's not under control.
1207
00:59:07,967 --> 00:59:09,510
And you certainly did a beautiful job.
1208
00:59:09,593 --> 00:59:14,181
I mean, they're so vibrant and so alive
and that's why it all works so beautifully.
1209
00:59:14,265 --> 00:59:17,726
GREEN: But you still need plot and
structure, which I actually don't do well.
1210
00:59:17,810 --> 00:59:20,437
And that's all down to Weber
and Neustadter.
1211
00:59:20,521 --> 00:59:24,733
They brought in structure to this story and
that's what allowed it to become a movie.
1212
00:59:24,817 --> 00:59:28,028
BOONE: And took out things,
that just for the movie,
1213
00:59:28,112 --> 00:59:31,240
I know people will ask about
and I've thought about it some.
1214
00:59:31,323 --> 00:59:33,742
Because one of the bigger differences
between the book and the movie
1215
00:59:33,826 --> 00:59:36,620
was Gus' girlfriend previous to Hazel,
which I felt like...
1216
00:59:36,704 --> 00:59:37,997
GREEN: Couldn't have her in the movie.
1217
00:59:38,080 --> 00:59:40,583
BOONE: For the movie, it just felt like...
1218
00:59:41,458 --> 00:59:42,751
GREEN: It would be all backstory.
1219
00:59:42,835 --> 00:59:46,922
BOONE: It made their love story less vibrant
during a two-hour time span,
1220
00:59:47,006 --> 00:59:50,092
where you'd really start to wonder
about his motivations.
1221
00:59:50,175 --> 00:59:53,971
You know, "Is he just into sick girls?"
And there just wasn't enough time.
1222
00:59:54,054 --> 00:59:56,181
GREEN: I think it would also
all be flashback.
1223
00:59:56,265 --> 00:59:58,851
I mean, would Gus just to sit there
and tell Hazel about it?
1224
00:59:58,934 --> 01:00:01,353
BOONE: Or she finds a picture and she's like,
"Who's this girl?"
1225
01:00:01,437 --> 01:00:05,649
GREEN: Yeah, it was important to me
in the book
1226
01:00:05,733 --> 01:00:09,612
because I wanted to de-romanticize
their love story as much as possible,
1227
01:00:09,695 --> 01:00:13,741
to make it not that sort of heightened,
gauzy thing.
1228
01:00:13,824 --> 01:00:17,202
Ben did that with light
and they did it with their performances.
1229
01:00:17,286 --> 01:00:18,829
-BOONE: Absolutely.
-I felt like it was there.
1230
01:00:18,913 --> 01:00:22,499
-BOONE: Yeah. And I'll mention I love...
-This shot.
1231
01:00:22,583 --> 01:00:25,502
BOONE: Things you want the most
in movies are happy accidents.
1232
01:00:25,586 --> 01:00:30,090
We were out location scouting one night
and came across that street band
1233
01:00:30,174 --> 01:00:34,219
and I immediately had them hire them
and get them to be there
1234
01:00:34,303 --> 01:00:38,849
so we could shoot Shai and Ansel
coming in and watching them play.
1235
01:00:38,933 --> 01:00:44,104
And they were basically like minstrels
traveling in a van.
1236
01:00:44,188 --> 01:00:47,107
So, getting a hold of them, we had no
guarantee that they were gonna show up.
1237
01:00:47,191 --> 01:00:48,317
We had paid them some money
1238
01:00:48,400 --> 01:00:52,154
and just were kind of hoping
that they would arrive and play that day.
1239
01:00:52,237 --> 01:00:54,531
GREEN: Yeah. And there's the
"Ceci n'est pas une pipe."
1240
01:00:54,615 --> 01:00:57,493
Another thing I'm thrilled
to have gotten in a movie.
1241
01:00:58,410 --> 01:01:00,871
There is a lot of distance between the way
that people with...
1242
01:01:02,998 --> 01:01:04,166
BOONE: I love that.
1243
01:01:04,249 --> 01:01:07,002
GREEN: A lot of distance
between the way that people
1244
01:01:07,086 --> 01:01:09,338
living with illness or disability
are portrayed
1245
01:01:09,421 --> 01:01:11,799
and the way
that they experience their own lives.
1246
01:01:11,882 --> 01:01:13,050
Which is what I was trying to get at
1247
01:01:13,133 --> 01:01:15,844
with the difference between
an image of a pipe and the pipe itself.
1248
01:01:15,928 --> 01:01:17,846
The way we imagine things
is often very different
1249
01:01:17,930 --> 01:01:19,014
from the way the way they actually are.
1250
01:01:19,098 --> 01:01:21,558
BOONE: It's like a person sitting on this bus
who looks at them is going to think
1251
01:01:21,642 --> 01:01:23,686
something very different
than they are feeling inside.
1252
01:01:23,769 --> 01:01:27,481
GREEN: Their own experience is not
as defined by their illness and disability
1253
01:01:27,564 --> 01:01:30,401
-as maybe... Right, your view of them is.
-It is to us. Yeah.
1254
01:01:30,484 --> 01:01:32,903
GREEN: It's your gaze
that is making it weird.
1255
01:01:32,987 --> 01:01:36,991
BOONE: So, we are about
to get to the great Willem Dafoe.
1256
01:01:37,074 --> 01:01:41,370
When I was a kid, I remember
recording the audio
1257
01:01:41,453 --> 01:01:44,039
on a pay-per-view channel
of the Platoon trailer
1258
01:01:44,123 --> 01:01:47,209
off of that and I was obsessed with
Last Temptation of Christ,
1259
01:01:47,292 --> 01:01:50,337
and Light Sleeper and all these movies
that he had made.
1260
01:01:51,255 --> 01:01:53,590
And it was a great thrill
to get to work with him.
1261
01:01:53,674 --> 01:01:55,634
He's played such scary parts.
1262
01:01:55,718 --> 01:01:58,595
In Wild at Heart,
he traumatized Laura Dem.
1263
01:01:58,679 --> 01:02:01,473
And when he came to set,
she still called him Bobby Peru,
1264
01:02:01,557 --> 01:02:03,934
who is the character he played
in Wild at Heart.
1265
01:02:04,435 --> 01:02:07,146
But he is a gentle,
1266
01:02:07,229 --> 01:02:10,357
really kind human being.
It was a privilege to work with him.
1267
01:02:10,441 --> 01:02:14,486
We shot this entire conversation between
1268
01:02:14,570 --> 01:02:16,572
him and the kids in one day.
1269
01:02:16,655 --> 01:02:19,616
And he knew that dialogue
backwards and forwards,
1270
01:02:19,700 --> 01:02:23,245
there were no flubbed takes,
he was a consummate professional.
1271
01:02:23,328 --> 01:02:26,290
GREEN: I will also add that he wanted
to add in a couple of lines
1272
01:02:26,373 --> 01:02:28,250
-from the book.
-Yeah, he did.
1273
01:02:28,333 --> 01:02:30,669
-GREEN: He read the book and was...
-He did.
1274
01:02:30,794 --> 01:02:34,173
...very careful in his reading of it.
He's just an amazing Van Houten.
1275
01:02:34,256 --> 01:02:38,761
BOONE: Yeah, the script
was very much close to...
1276
01:02:38,844 --> 01:02:42,139
There were some odds and ends
that we added and little things,
1277
01:02:42,222 --> 01:02:45,893
but the script is very close to what
I first read when I signed on.
1278
01:02:45,976 --> 01:02:50,314
Except for the second Van Houten scene,
I traveled to New York
1279
01:02:50,397 --> 01:02:53,942
to meet with him about the role
and we actually sat there
1280
01:02:54,026 --> 01:02:55,444
with a pen and paper
1281
01:02:55,527 --> 01:02:58,530
and he and I rewrote the scene
with Shai and him in the car at the end.
1282
01:03:00,032 --> 01:03:02,284
Scott and Mike then went
and just cleaned it up
1283
01:03:02,367 --> 01:03:04,119
and got it presentable.
1284
01:03:04,870 --> 01:03:06,789
He was a big help.
1285
01:03:06,872 --> 01:03:08,540
Dafoe had a lot of
interesting insights into this character
1286
01:03:08,624 --> 01:03:11,251
and had a very strong point of view
1287
01:03:11,335 --> 01:03:13,670
about how he wanted to play it
and I thought his choices were
1288
01:03:13,879 --> 01:03:15,964
really, really great.
1289
01:03:16,632 --> 01:03:19,468
Did he feel like the character,
for you, that you wrote?
1290
01:03:19,551 --> 01:03:23,388
-If not physically how you described...
-Yeah. There's physical differences,
1291
01:03:23,472 --> 01:03:24,890
because he is described as being
1292
01:03:24,973 --> 01:03:27,101
-big and balding.
-Potbellied. Yeah.
1293
01:03:27,226 --> 01:03:29,144
GREEN: But you can see here that
1294
01:03:29,228 --> 01:03:32,648
even the way that Dafoe carries himself
is the way I imagined him.
1295
01:03:32,731 --> 01:03:35,651
I imagined him bigger,
but he makes himself big.
1296
01:03:35,734 --> 01:03:37,319
BOONE: He does.
GREEN: Um, and, you know...
1297
01:03:38,904 --> 01:03:41,156
It's very much in the beard,
1298
01:03:41,240 --> 01:03:45,244
the sort of ragged, unkemptness of him.
1299
01:03:45,327 --> 01:03:48,205
-Um, yeah. It was very weird.
-Yeah.
1300
01:03:48,956 --> 01:03:53,836
GREEN: And you know Dafoe's parents,
lived 10 doors down from me
1301
01:03:54,253 --> 01:03:55,546
-when I was growing up.
-Wow, that's awesome.
1302
01:03:55,629 --> 01:03:59,967
GREEN: So, I would see him at Thanksgiving
when I was walking the dog or whatever.
1303
01:04:00,092 --> 01:04:01,593
BOONE: Wow. Did you tell him?
You told him all this, right?
1304
01:04:01,677 --> 01:04:02,845
GREEN: Yeah, I did. I did.
1305
01:04:02,928 --> 01:04:07,015
So, for him to be in the movie adaptation
of my book...
1306
01:04:07,099 --> 01:04:09,184
BOONE: ls special. Yeah.
GREEN". ...30 years later
1307
01:04:09,268 --> 01:04:11,854
-is just crazy.
-So crazy.
1308
01:04:11,937 --> 01:04:13,939
And we were very lucky to get him.
1309
01:04:14,064 --> 01:04:19,027
This is a tough role, because the audience
is not going to like you. (LAUGHS)
1310
01:04:19,319 --> 01:04:22,239
-GREEN: Right.
-But he came in and he chewed it up.
1311
01:04:22,322 --> 01:04:25,284
-He is great.
GREEN". I think he did a nice job...
1312
01:04:25,367 --> 01:04:27,578
-BOONE: He did.
-...of finding a way into Van Houten,
1313
01:04:27,661 --> 01:04:29,371
a human way into Van Houten.
1314
01:04:29,454 --> 01:04:32,916
BOONE: Yeah, I think so, too,
and I think this character is
1315
01:04:33,041 --> 01:04:36,378
the gatekeeper to the darkness
that is to come in the movie.
1316
01:04:36,461 --> 01:04:39,590
I mean, he kind of lifts it up and says,
"Walk on through, kids."
1317
01:04:39,673 --> 01:04:40,799
-GREEN: Right.
-And that's when things
1318
01:04:40,883 --> 01:04:44,219
really take a turn for the serious.
So, I always imagined him
1319
01:04:44,303 --> 01:04:47,848
as like a very drunk, River Styx driver.
1320
01:04:47,931 --> 01:04:50,058
-(LAUGHS) Or something like that.
-GREEN: And this is,
1321
01:04:53,478 --> 01:04:54,855
I don't want to brag, but...
1322
01:04:56,023 --> 01:04:57,232
BOONE: (SOFTLY) Bomfalleralla.
1323
01:04:57,316 --> 01:04:59,860
...in my opinion,
my major contribution to the movie.
1324
01:05:00,235 --> 01:05:01,486
(BOONE LAUGHS)
1325
01:05:01,570 --> 01:05:04,323
Getting Afasi och Filthy, the greatest
1326
01:05:04,406 --> 01:05:06,408
duo in the history of Swedish hip-hop,
1327
01:05:06,491 --> 01:05:09,161
the exposure that they deserve
in the United States.
1328
01:05:09,244 --> 01:05:11,955
Exactly, I expect them to be here
touring soon,
1329
01:05:12,247 --> 01:05:14,333
-just based off the popularity of the movie.
-(GREEN LAUGHS)
1330
01:05:15,417 --> 01:05:17,586
GREEN: Man, I do genuinely love that song.
1331
01:05:17,669 --> 01:05:18,879
One of the weirder things
that happened to me
1332
01:05:18,962 --> 01:05:22,633
when I was writing about Van Houten is
that I listened to a lot of Swedish hip-hop
1333
01:05:22,716 --> 01:05:24,009
and I agreed with him about so much.
1334
01:05:24,176 --> 01:05:26,345
I agree with him that characters don't exist
outside of the book.
1335
01:05:26,428 --> 01:05:29,431
I agree with him that the author's voice
shouldn't be privileged when it
1336
01:05:29,514 --> 01:05:32,226
comes to talking about what happens
"after" a book.
1337
01:05:32,309 --> 01:05:33,769
-Yeah.
-And I found myself thinking,
1338
01:05:33,936 --> 01:05:37,314
"Am I this horrible person?"
(LAUGHING)
1339
01:05:40,525 --> 01:05:41,944
BOONE: "Who the hell speaks Swedish?"
1340
01:05:42,027 --> 01:05:46,114
I think for this scene there were
close to 30 camera setups.
1341
01:05:46,198 --> 01:05:47,199
Uh...
1342
01:05:47,908 --> 01:05:49,243
-GREEN: And in one day.
-And in one day.
1343
01:05:49,326 --> 01:05:53,038
So, we used two cameras,
which a DP never likes to do,
1344
01:05:53,205 --> 01:05:57,042
because it makes balancing the light
between two cameras
1345
01:05:57,209 --> 01:05:59,795
very difficult and problematic,
1346
01:05:59,878 --> 01:06:01,964
but when you have to shoot this many
setups in one day
1347
01:06:02,047 --> 01:06:05,384
you shoot with as many cameras
as you can get in there.
1348
01:06:05,592 --> 01:06:08,387
So, this was on a very intensive day.
1349
01:06:08,595 --> 01:06:10,973
But the kids, I think,
relished working with him
1350
01:06:11,056 --> 01:06:15,477
so much and he was so committed to it
that he just brought
1351
01:06:15,560 --> 01:06:17,229
the best out in them.
1352
01:06:17,604 --> 01:06:18,605
GREEN: Yeah.
1353
01:06:19,481 --> 01:06:22,401
So, Josh, going into the filming
of this movie, I did not know
1354
01:06:22,484 --> 01:06:26,154
that you shoot with one camera at a time
and you light every shot.
1355
01:06:26,238 --> 01:06:28,490
I thought that when this was happening
1356
01:06:28,573 --> 01:06:30,200
this was always shot with two cameras
1357
01:06:30,284 --> 01:06:31,410
-at the same time.
-Yeah.
1358
01:06:32,202 --> 01:06:34,871
GREEN: And that was a total revelation.
-Demystifying.
1359
01:06:34,955 --> 01:06:39,376
GREEN: Yeah, it did. It was a moment
where movies became...
1360
01:06:39,459 --> 01:06:42,004
You know, I could see
the strings on the puppets.
1361
01:06:42,087 --> 01:06:44,798
BOONE: Yeah. I grew up listening
to audio commentaries,
1362
01:06:44,881 --> 01:06:48,343
like the one we are recording now,
and spent a lot of time
1363
01:06:48,427 --> 01:06:52,139
doing that, so I was demystified early.
1364
01:06:52,222 --> 01:06:54,182
Did you lose it all?
When you go see a movie now,
1365
01:06:54,266 --> 01:06:56,643
do you lose any of the magic
for you of being...
1366
01:06:56,727 --> 01:07:00,856
GREEN: No. I lose something a little,
structurally, in big action movies
1367
01:07:00,939 --> 01:07:02,941
where you can just say,
1368
01:07:03,025 --> 01:07:05,110
-"End of Act 2."
-BOONE: "End of Act 2." guxusws,»
1369
01:07:06,695 --> 01:07:09,031
GREEN: But in interesting movies,
I still get completely immersed.
1370
01:07:09,114 --> 01:07:10,282
BOONE: Yeah.
1371
01:07:11,742 --> 01:07:14,453
GREEN: Look atAnsel.
Ansel is ready to fight.
1372
01:07:14,536 --> 01:07:15,537
BOONE: Yeah.
1373
01:07:15,620 --> 01:07:17,664
He's like, "What did you say to me?"
1374
01:07:17,748 --> 01:07:20,959
-And in this, we love this.
GREEN". Her eyes.
1375
01:07:21,168 --> 01:07:25,547
BOONE: And you know there is a mix,
like this push here
1376
01:07:25,630 --> 01:07:28,633
I don't believe was in the original version.
You can add a lot of pushes in post.
1377
01:07:30,302 --> 01:07:34,181
So, sometimes it is preplanned
and other times in editing you find,
1378
01:07:34,264 --> 01:07:36,683
"Ah, it would be really nice to push in here."
And you can push in
1379
01:07:36,808 --> 01:07:38,602
and give it a kind of a gentle move.
1380
01:07:38,935 --> 01:07:40,896
-GREEN: Yeah.
-And that face,
1381
01:07:40,979 --> 01:07:42,981
is just the greatest face.
1382
01:07:44,149 --> 01:07:45,776
I love Dafoe so much.
1383
01:07:47,819 --> 01:07:49,946
She just toe-to-toe matches him.
1384
01:07:50,947 --> 01:07:53,658
GREEN: Well, it is the ultimate for me...
1385
01:07:53,742 --> 01:07:56,411
Wow, that sounds braggy
but it's a character
1386
01:07:56,495 --> 01:07:58,955
-who conflates honesty and cruelty.
-Yeah.
1387
01:07:59,039 --> 01:08:00,665
GREEN: He thinks that to be cruel
is a way of being honest.
1388
01:08:00,749 --> 01:08:03,919
BOONE: Yeah, and he does give her the key
to the movie that she solves for herself
1389
01:08:04,002 --> 01:08:06,713
by thinking about what he said
a little bit longer
1390
01:08:06,797 --> 01:08:10,175
until she gets to the eulogy.
1391
01:08:10,258 --> 01:08:14,304
But he does give her the truth,
he just does it in a way
1392
01:08:14,388 --> 01:08:16,431
that he's such an attacker
that she can't hear him.
1393
01:08:16,515 --> 01:08:20,435
It's like maybe if he was a different person.
Did you think about...
1394
01:08:20,519 --> 01:08:23,480
Any specific authors
did you model him after?
1395
01:08:23,563 --> 01:08:28,860
I know I told Dafoe, when he showed up in
the white-looking suit
1396
01:08:28,944 --> 01:08:30,904
at the funeral
that I wanted him to look like Tom Wolfe.
1397
01:08:30,987 --> 01:08:32,614
Like The Bonfire of the Vanities
Tom Wolfe.
1398
01:08:32,697 --> 01:08:34,783
GREEN: I think Tom Wolfe is probably
a much nicer guy,
1399
01:08:34,866 --> 01:08:36,493
-to be fair.
-BOONE: Yeah. Of course.
1400
01:08:36,618 --> 01:08:38,412
Yeah, you know, I was...
1401
01:08:38,495 --> 01:08:42,082
I guess I was thinking about sort of
a dark version of myself.
1402
01:08:42,165 --> 01:08:44,709
I was thinking about all the times I feel like
I have disappointed readers
1403
01:08:44,918 --> 01:08:48,422
and what if we took that to an extreme,
the difference between...
1404
01:08:48,505 --> 01:08:51,633
There is always a canyon between
1405
01:08:51,716 --> 01:08:53,135
-the artist and the art.
-Yeah.
1406
01:08:53,218 --> 01:08:54,970
GREEN: There is always a canyon between
the thing that you make,
1407
01:08:55,053 --> 01:08:57,347
which can be very useful to people
and the person you are,
1408
01:08:57,431 --> 01:09:00,058
which is a screwed-up person,
just like everyone else.
1409
01:09:00,142 --> 01:09:03,395
BOONE: Yes, exactly. And would you say
that, it is your family more than anything
1410
01:09:03,478 --> 01:09:06,231
-that keeps you grounded?
-Yeah.
1411
01:09:06,314 --> 01:09:07,816
BOONE: Keeps you from
becoming Van Houten.
1412
01:09:07,899 --> 01:09:09,985
GREEN: I feel like
1413
01:09:10,068 --> 01:09:12,821
-I could descend into serious depression...
-This?
1414
01:09:12,904 --> 01:09:14,781
-...very, very quickly.
-Yeah.
1415
01:09:14,865 --> 01:09:17,075
GREEN: But I have my family,
I have close friends,
1416
01:09:17,159 --> 01:09:21,913
I have this net, this web of connection.
1417
01:09:21,997 --> 01:09:24,833
And I think for anyone,
if you lose that web of connection,
1418
01:09:24,916 --> 01:09:27,169
it is absolutely devastating
and a lot of times,
1419
01:09:27,252 --> 01:09:30,839
that can begin with a huge disruptive loss,
like the loss of a child.
1420
01:09:30,922 --> 01:09:34,342
-BOONE: Yeah.
-And then his marriage falls apart.
1421
01:09:34,426 --> 01:09:37,053
Then he withdraws
more and more and more.
1422
01:09:37,137 --> 01:09:40,015
And it just becomes impossible for him
to have that web.
1423
01:09:40,098 --> 01:09:41,808
It becomes impossible
to rebuild those connections.
1424
01:09:41,892 --> 01:09:45,437
BOONE: Yeah. You just become so shut off
from real human interaction.
1425
01:09:48,482 --> 01:09:50,400
-GREEN: Lotte did a good job.
-Yeah. She is great.
1426
01:09:50,484 --> 01:09:52,277
Loved her on The Tudors.
1427
01:09:53,028 --> 01:09:55,155
Hired her immediately
when we knew she was available.
1428
01:09:55,322 --> 01:09:56,698
I said, "Get... We need her now."
1429
01:09:57,282 --> 01:10:01,036
Yeah, she did a great job.
1430
01:10:01,119 --> 01:10:04,956
A lot of her interaction
with Dafoe I find interesting
1431
01:10:05,040 --> 01:10:07,334
and it suggests a backstory that is not
1432
01:10:07,417 --> 01:10:11,796
necessarily explored, but I think
there is some stuff there that is interesting.
1433
01:10:13,131 --> 01:10:15,133
GREEN: Yeah, absolutely.
1434
01:10:17,928 --> 01:10:19,888
I think it is true, we are
the first feature film to ever be shot
1435
01:10:19,971 --> 01:10:22,265
inside the Anne Frank House.
1436
01:10:22,349 --> 01:10:27,187
We should talk a little bit about this.
So, all the interior stuff
1437
01:10:27,270 --> 01:10:30,315
in the Anne Frank House where Shai
is actually climbing the stairs
1438
01:10:30,398 --> 01:10:35,612
is a set in Pittsburgh, built by our great
production designer, Molly Hughes,
1439
01:10:35,695 --> 01:10:40,784
and a lot of other people were involved
in the building and construction of this.
1440
01:10:40,867 --> 01:10:43,703
And it was a very long process,
working with the Anne Frank,
1441
01:10:43,787 --> 01:10:46,039
to get the plans, to get the measurements.
1442
01:10:46,748 --> 01:10:50,252
-GREEN: But it was precise. Down to...
-It was precise.
1443
01:10:50,335 --> 01:10:52,712
-...the width of the stairs.
-Yeah.
1444
01:10:52,796 --> 01:10:54,923
Ben and I went and walked through
the real Anne Frank House
1445
01:10:55,006 --> 01:10:58,051
when we arrived in Amsterdam
and we had already shot the interior.
1446
01:10:58,134 --> 01:11:00,762
This here is the real Anne Frank House,
what you are looking at here.
1447
01:11:01,680 --> 01:11:03,640
But once they go up the stairs
it becomes a set,
1448
01:11:03,723 --> 01:11:05,934
all the way up to the attic
and through the kiss.
1449
01:11:06,017 --> 01:11:07,978
GREEN: In fact you cannot visit the attic
1450
01:11:08,061 --> 01:11:10,522
-at the Anne Frank House.
-You cannot visit anymore. Yeah.
1451
01:11:10,605 --> 01:11:12,023
GREEN: It is structurally unsound.
1452
01:11:12,107 --> 01:11:14,651
BOONE: Wow. And Ben and I went through
the real Anne Frank House
1453
01:11:14,734 --> 01:11:18,113
-and we were so overcome with déjé vu.
-Mm-hmm.
1454
01:11:18,196 --> 01:11:23,285
BOONE: Everything about it was so precise
that it was just a very eerie thing.
1455
01:11:23,368 --> 01:11:27,914
So, I would say, we had one of the greatest
production designers on the planet.
1456
01:11:27,998 --> 01:11:33,253
She really did a beautiful job
building this place. It was a huge expense.
1457
01:11:33,336 --> 01:11:35,547
GREEN: Yeah. Yeah.
But it was very important to the movie.
1458
01:11:35,630 --> 01:11:37,340
BOONE". Yeah. So important.
1459
01:11:37,424 --> 01:11:39,801
And there was just no way we could get
into the Anne Frank House
1460
01:11:39,884 --> 01:11:42,762
shoot at the length
we would have needed to shoot at.
1461
01:11:42,846 --> 01:11:44,306
GREEN: Right, this would have been days.
1462
01:11:44,389 --> 01:11:46,182
BOONE: Yeah, the very last night
of the shoot
1463
01:11:46,266 --> 01:11:47,601
was actually at the Anne Frank House
1464
01:11:47,684 --> 01:11:50,270
and we only had two hours.
So, we had to plug off...
1465
01:11:51,521 --> 01:11:52,897
You know Ben was just running around
1466
01:11:52,981 --> 01:11:55,442
with his rig and we were just grabbing
as many shots as we could.
1467
01:11:56,693 --> 01:11:58,069
GREEN: That was a very special night.
1468
01:11:58,153 --> 01:11:59,487
-BOONE: It was.
-We got to say goodbye to the movie
1469
01:11:59,571 --> 01:12:04,576
together in that place that meant so much
to me and meant so much the story.
1470
01:12:04,659 --> 01:12:06,411
BOONE: Yeah.
1471
01:12:06,494 --> 01:12:07,996
-I mean, this, for me, was...
-I can't get through this
1472
01:12:08,079 --> 01:12:09,581
without crying a little bit, Boone.
1473
01:12:09,664 --> 01:12:12,042
-BOONE: Oh, are you already?
-(LAUGHS) I just got choked up a little bit
1474
01:12:12,125 --> 01:12:15,128
-thinking about the Anne Frank House.
-BOONE: I know.
1475
01:12:15,211 --> 01:12:20,008
I mean, this was also a scene that was
one of the ones that I broke down for Fox
1476
01:12:20,091 --> 01:12:23,928
when I pitched to get the job,
because this felt like
1477
01:12:24,012 --> 01:12:27,390
the most critical scene in the movie
from a character standpoint, from Hazel.
1478
01:12:27,474 --> 01:12:32,354
It is the moment where she decides to
1479
01:12:32,437 --> 01:12:37,275
give herself, give up fighting Ansel.
Stop resisting him.
1480
01:12:37,359 --> 01:12:40,862
And actually be in love
and be happy and take her own advice.
1481
01:12:40,945 --> 01:12:46,201
GREEN: Yeah, well, I think it is a question
of deciding
1482
01:12:46,284 --> 01:12:47,869
that it's his choice.
1483
01:12:47,952 --> 01:12:51,623
-BOONE: Yeah, it's his choice.
-That it's his choice to care about her.
1484
01:12:55,377 --> 01:13:00,048
One of the things I like about the way that
Shai plays this scene is that
1485
01:13:00,131 --> 01:13:03,176
-it's her decision. it's her kiss.
-Yeah.
1486
01:13:03,259 --> 01:13:04,719
GREEN: She kisses him.
1487
01:13:04,803 --> 01:13:07,389
It's very rare in a Hollywood romance,
particularly about teenagers,
1488
01:13:07,472 --> 01:13:10,266
-that the girl kisses the boy.
-BOONE: Yeah, absolutely.
1489
01:13:11,309 --> 01:13:13,978
-GREEN: In the book she's thinking...
-And that is why in the Hollywood version,
1490
01:13:14,062 --> 01:13:16,523
-at the beginning, Ansel kisses her.
GREEN: Right. He kisses her. Exactly.
1491
01:13:17,023 --> 01:13:19,693
Um, but, you know? In...
1492
01:13:20,026 --> 01:13:22,570
This would actually now be impossible
because you cannot go up there.
1493
01:13:22,654 --> 01:13:24,280
BOONE: Yeah, you can't go up there.
1494
01:13:25,990 --> 01:13:30,036
But in the book, she talks about
wanting to reclaim...
1495
01:13:30,120 --> 01:13:32,038
Thinking about, "You can't make out
in the Anne Frank House,"
1496
01:13:32,122 --> 01:13:34,582
and then thinking, "Well, Anne Frank
made out in the Anne Frank House."
1497
01:13:34,666 --> 01:13:38,002
You know, "Anne Frank was alive here.
I am alive here. And while I am alive,
1498
01:13:38,086 --> 01:13:43,466
"| can make these active decisions,
I can live, I shouldn't deny myself life
1499
01:13:43,550 --> 01:13:45,301
-"while I'm here."
-Yeah.
1500
01:13:45,385 --> 01:13:48,096
GREEN: "And I should let this boy..."
1501
01:13:48,179 --> 01:13:50,849
If he's convinced that
he's gonna be all right...
1502
01:13:50,932 --> 01:13:54,144
BOONE: Yeah, I mean that's what's
so beautiful about this story.
1503
01:13:54,227 --> 01:13:57,731
So much of it is that,
it's just living with fearlessness,
1504
01:13:57,814 --> 01:14:00,191
which I guess is the hardest thing to do,
1505
01:14:00,734 --> 01:14:02,360
-period.
-Yeah.
1506
01:14:02,444 --> 01:14:05,530
We should mention that in
a lot of these scenes, in rewatching it,
1507
01:14:05,613 --> 01:14:11,661
you can tell watching Ansel that
Gus knows that he is sick.
1508
01:14:14,664 --> 01:14:17,417
-BOONE: He's certainly... Yeah.
-There are a lot of moments,
1509
01:14:17,500 --> 01:14:19,878
for me at least, where I can tell that...
1510
01:14:20,211 --> 01:14:24,090
-BOONE: It's how he looks at her.
-Yeah.
1511
01:14:24,174 --> 01:14:28,803
BOONE: So much of it is him knowing that
he is on bought time.
1512
01:14:28,887 --> 01:14:32,891
And you can see him just
soaking her up with his eyes.
1513
01:14:33,683 --> 01:14:35,977
It's really beautiful.
He's just, like, drinking her.
1514
01:14:36,060 --> 01:14:39,522
GREEN: But I also sense that hesitance of
him that he knows that he hasn't told her.
1515
01:14:39,606 --> 01:14:41,274
-BOONE: Yeah.
-He knows that he's gonna have to tell her.
1516
01:14:41,357 --> 01:14:44,068
-He knows there is no way out.
-BOONE: Yeah.
1517
01:14:44,778 --> 01:14:48,156
GREEN: And there is something brutally
difficult about that, about knowing.
1518
01:14:48,782 --> 01:14:52,160
-It is a kind of betrayal not to tell her.
-BOONE: Yeah.
1519
01:14:52,243 --> 01:14:54,245
It is a betrayal. But it was a kind betrayal.
1520
01:14:54,329 --> 01:14:55,830
GREEN: Yeah. I mean, I think
1521
01:14:55,914 --> 01:14:58,792
-it's a complicated betrayal...
-BOONE: It was a human betrayal.
1522
01:14:58,917 --> 01:15:03,963
He certainly didn't do it maliciously
to hurt her. He did it 'cause he loved her.
1523
01:15:04,088 --> 01:15:07,884
GREEN: Yeah, you know
he wants to have this.
1524
01:15:08,259 --> 01:15:11,387
BOONE: That is such a beautiful shot,
the light's so beautiful.
1525
01:15:11,596 --> 01:15:15,183
She looks fantastic
and this kiss is just... Yeah.
1526
01:15:15,266 --> 01:15:19,521
For me, this is where it all comes together.
Score. Picture. Everything thematically.
1527
01:15:19,604 --> 01:15:21,397
Like, this is the moment.
1528
01:15:22,941 --> 01:15:26,027
-And that kiss is great.
-We made them do it 30 times.
1529
01:15:26,110 --> 01:15:30,824
-BOONE: So many times.
-Even after I think you had it.
1530
01:15:30,907 --> 01:15:32,534
-BOONE: Yeah.
-Everybody just wanted a few more.
1531
01:15:32,617 --> 01:15:35,453
-BOONE: Right. Why not? They're kissing.
-Look at his eyes.
1532
01:15:35,537 --> 01:15:37,539
It's in his eyes, right then that I can see it.
1533
01:15:37,622 --> 01:15:40,750
BOONE: Yeah. All that love.
-All that feeling.
1534
01:15:43,294 --> 01:15:46,464
BOONE". Oh, man. And this is followed by
my favorite line in the movie.
1535
01:15:46,548 --> 01:15:49,592
The voiceover.
And my favorite scene in the movie.
1536
01:15:49,676 --> 01:15:51,719
-It is really my favorite scene.
GREEN". Really your favorite scene?
1537
01:15:51,803 --> 01:15:54,597
BOONE: The love scene.
-Okay, you are no longer allowed...
1538
01:15:55,473 --> 01:15:57,225
After this moment
you are no longer allowed to
1539
01:15:57,308 --> 01:15:58,601
cite a scene as your favorite scene.
1540
01:15:58,685 --> 01:16:01,187
All right, so the love scene coming up
is my favorite scene.
1541
01:16:01,271 --> 01:16:03,731
It is the one scene... Well, there's probably
more than one scene...
1542
01:16:03,815 --> 01:16:06,442
It hasn't changed once since our first cut.
1543
01:16:07,360 --> 01:16:10,697
Robb, cut it with me
1544
01:16:10,780 --> 01:16:14,617
and we repurposed this music. This music
was written for the funeral scene
1545
01:16:14,701 --> 01:16:16,828
and for the scene where she wakes up
in bed at night.
1546
01:16:16,911 --> 01:16:18,162
-GREEN: Wow.
-And we were
1547
01:16:18,621 --> 01:16:22,041
cutting this scene and we were like,
"No. This doesn't feel right."
1548
01:16:22,125 --> 01:16:26,462
And I went out to go grab something,
came back and Robb was like,
1549
01:16:26,546 --> 01:16:28,256
"What about this?" And that was it.
1550
01:16:28,339 --> 01:16:32,886
-GREEN: I love the music in this scene.
-It's so beautiful and it's so haunting
1551
01:16:32,969 --> 01:16:36,431
and so sad. It's why this moment works.
1552
01:16:36,514 --> 01:16:38,850
Like, just his vulnerability
1553
01:16:38,933 --> 01:16:43,605
here is just so powerful and it's that
haunting, gentle piano melody.
1554
01:16:46,524 --> 01:16:50,528
It makes it sweet and it makes it sad.
1555
01:16:50,612 --> 01:16:53,406
Which is like the use of Kodaline
at the end of the egging scene.
1556
01:16:53,489 --> 01:16:58,453
It's going melancholy a little bit
after having this big moment of happiness.
1557
01:16:58,536 --> 01:16:59,537
GREEN: Mm-hmm.
1558
01:17:00,246 --> 01:17:02,540
-BOONE: There we go, this is for the girls.
-(LAUGHS)
1559
01:17:02,624 --> 01:17:06,127
My editor always says,
"We have to have this in here for the girls."
1560
01:17:06,210 --> 01:17:08,296
GREEN: Oh, man,
he doesn't even work out that often.
1561
01:17:08,379 --> 01:17:09,380
BOONE: No.
1562
01:17:09,464 --> 01:17:11,883
GREEN: It's frustrating.
I remember being on set with him.
1563
01:17:11,966 --> 01:17:13,760
I was like, "I run faster than he does."
1564
01:17:13,968 --> 01:17:15,845
(LAUGHS)
1565
01:17:16,763 --> 01:17:20,224
It is just that
he has been given this physique.
1566
01:17:20,308 --> 01:17:22,685
BOONE: He has the body of a Greek god and
that is just how it is.
1567
01:17:22,769 --> 01:17:24,687
-GREEN: Right. Yeah.
-That's beautiful.
1568
01:17:27,941 --> 01:17:29,984
This is the one day of the movie
that I chose not to go on set.
1569
01:17:30,068 --> 01:17:32,320
I thought that it just would be weird
1570
01:17:33,988 --> 01:17:36,532
and uncomfortable and I am so glad I didn't
1571
01:17:36,616 --> 01:17:38,159
because I am so glad I get to watch it.
1572
01:17:38,242 --> 01:17:39,953
BOONE: Yeah, I mean,
the only people in the room,
1573
01:17:40,036 --> 01:17:41,829
and there were no monitors on outside,
1574
01:17:41,913 --> 01:17:47,627
it was me, Ben, the focus puller.
1575
01:17:47,710 --> 01:17:51,547
H wasn't even in there. Who's the second?
1576
01:17:51,631 --> 01:17:52,966
-GREEN: Kristen? Yeah.
-Kristen.
1577
01:17:53,091 --> 01:17:56,135
It was Kristen and then Jake
was in the bathroom
1578
01:17:56,219 --> 01:17:59,514
-with a monitor, just for the leg shot.
GREEN". Wow.
1579
01:17:59,597 --> 01:18:02,433
So, it was very, very private
1580
01:18:02,517 --> 01:18:04,936
and we shot it very quickly.
1581
01:18:05,019 --> 01:18:06,187
Just covered it from
a bunch of different angles
1582
01:18:06,270 --> 01:18:10,358
and we had it.
They knew exactly what this needed to be.
1583
01:18:10,441 --> 01:18:12,318
-GREEN: Right.
-You just wanted it to be real
1584
01:18:12,402 --> 01:18:15,196
and to be kind of gentle and beautiful
1585
01:18:15,279 --> 01:18:19,075
and like what it made you feel
when you read it.
1586
01:18:19,158 --> 01:18:22,203
GREEN: Since you mentioned him, we had
an amazing first AD on this movie, H.
1587
01:18:22,286 --> 01:18:24,872
BOONE: We did. H. H. Cooper,
who is one of the...
1588
01:18:26,374 --> 01:18:29,043
-Yeah, he is a great guy. He is.
GREEN". It's weird talking about H
1589
01:18:29,127 --> 01:18:31,379
in this particular moment.
But he is great. He was so helpful.
1590
01:18:31,462 --> 01:18:35,299
BOONE: He is.
We are going to be working again together.
1591
01:18:35,383 --> 01:18:38,928
-And Missy as well. Executive producer.
GREEN". Yeah. I'm gonna fight...
1592
01:18:39,012 --> 01:18:42,056
She'll do it. She'll come back
for Paper Towns, for sure.
1593
01:18:42,140 --> 01:18:45,268
GREEN: I love that. I love this scene.
-This is a Jake Braver visual effects shot.
1594
01:18:45,351 --> 01:18:48,104
It is also a very romantic shot.
1595
01:18:48,187 --> 01:18:50,732
GREEN: Yeah, I love that it's...
1596
01:18:50,815 --> 01:18:52,859
You know, I love that
they are allowed to be
1597
01:18:52,942 --> 01:18:57,071
-desirous and sexual.
-BOONE: Yeah.
1598
01:18:57,363 --> 01:18:58,823
-'Cause what kid isn't?
GREEN: Yeah.
1599
01:18:58,906 --> 01:19:02,744
-BOONE: What teenager isn't?
-I got a question once on Tumblr,
1600
01:19:02,827 --> 01:19:04,579
"How do they have sex?"
1601
01:19:04,662 --> 01:19:08,666
-BOONE: With their private parts.
-And I'm like, "People with disabilities
1602
01:19:08,750 --> 01:19:11,878
-"can have sex." You know?
-BOONE: Can have sex.
1603
01:19:13,838 --> 01:19:16,549
I guess maybe it is a movie first with
1604
01:19:16,632 --> 01:19:19,552
just the cannula in the shirt
and just all the trouble with it all.
1605
01:19:19,635 --> 01:19:21,179
-GREEN: Right.
-It's kind of great.
1606
01:19:22,096 --> 01:19:24,474
Now, we always debated this,
so my editor...
1607
01:19:24,557 --> 01:19:27,852
A bunch of... We always were like,
"So, if it's not inside the circle,
1608
01:19:27,935 --> 01:19:30,146
"does that mean they..." And I know
that you have done this before,
1609
01:19:30,229 --> 01:19:33,066
but would you explain the circle
so that anybody who doesn't know,
1610
01:19:33,149 --> 01:19:34,609
can understand that it does mean
that they had sex.
1611
01:19:34,692 --> 01:19:40,364
GREEN: Yeah. It does mean that they
had sex. It used to be that all
1612
01:19:40,448 --> 01:19:42,742
17-year-olds with one leg
were inside the circle.
1613
01:19:42,825 --> 01:19:45,703
-BOONE: Yes.
-And now it is that
1614
01:19:45,787 --> 01:19:49,040
some 17-year-olds with one leg
are inside the circle.
1615
01:19:49,123 --> 01:19:52,919
The implication being that Gus has moved
out of that big circle of friendship.
1616
01:19:53,002 --> 01:19:56,547
-BOONE: Yes. Okay.
-So, yes. They did it.
1617
01:19:56,631 --> 01:19:59,967
BOONE: Several people asked me,
I was like, "No, they definitely did it."
1618
01:20:00,051 --> 01:20:04,388
But there is some intellectual thing behind
the circle that I don't know. (LAUGHS)
1619
01:20:04,472 --> 01:20:06,599
There's a name of the circle, though.
What is it called?
1620
01:20:06,682 --> 01:20:08,476
GREEN: A Venn diagram.
-Yeah. Exactly.
1621
01:20:08,559 --> 01:20:10,770
GREEN: Karen Kavett,
a longtime nerdfighter,
1622
01:20:10,895 --> 01:20:14,440
made the original Venn diagrams
in the book
1623
01:20:14,899 --> 01:20:16,901
and also helped me to understand
how Venn diagrams work.
1624
01:20:16,984 --> 01:20:19,320
BOONE: Yeah, see, I didn't have anybody
explain that to me.
1625
01:20:19,403 --> 01:20:22,031
-So, I was confused. (LAUGHS)
-They did it. That is it.
1626
01:20:22,115 --> 01:20:24,242
But maybe it is ambiguous enough that
1627
01:20:24,325 --> 01:20:26,869
that's how we held on to
our sweet, sweet PG-13.
1628
01:20:26,953 --> 01:20:30,414
BOONE: Oh, no, they did it.
You're hearing it right here.
1629
01:20:34,919 --> 01:20:36,170
This next scene is obviously
1630
01:20:36,254 --> 01:20:41,134
one of the most painful scenes in the movie
to watch. What was it like to write it?
1631
01:20:41,926 --> 01:20:43,511
GREEN: No. It was really hard to write it.
1632
01:20:43,594 --> 01:20:45,555
Well, do you remember where you were
when you wrote this scene?
1633
01:20:45,638 --> 01:20:49,183
Yeah. I was at Starbucks,
where I wrote most of the book.
1634
01:20:50,560 --> 01:20:52,436
And this was one of the days where I
I wrote it over many days,
1635
01:20:52,520 --> 01:20:55,398
-but I cried, I cried a lot.
-Yeah.
1636
01:20:55,481 --> 01:20:57,441
-GREEN: It was very difficult to write.
-And I will say,
1637
01:20:57,525 --> 01:21:01,195
we have now been in several screenings
where the people who have read the book,
1638
01:21:01,279 --> 01:21:04,073
I've heard them start to cry
as Gus sits down,
1639
01:21:04,157 --> 01:21:05,908
before he even says anything.
1640
01:21:05,992 --> 01:21:08,536
GREEN: Yeah. It's such a difficult...
1641
01:21:10,496 --> 01:21:12,790
He has no choices left.
1642
01:21:12,874 --> 01:21:16,961
I mean, it is a difficult moment.
1643
01:21:17,044 --> 01:21:18,337
He just doesn't have a choice.
1644
01:21:18,421 --> 01:21:20,673
BOONE: P.S. That boat, behind there?
Not really there.
1645
01:21:20,756 --> 01:21:23,384
-We put that there. (LAUGHS)
-Oh! Good work.
1646
01:21:25,636 --> 01:21:27,471
BOONE: I believe of all
the shots in the movie,
1647
01:21:27,555 --> 01:21:29,891
the shot on the bench,
I think, is an iconic shot.
1648
01:21:29,974 --> 01:21:34,061
It could be one of those shots people see,
and just instantly, it's like,
1649
01:21:34,145 --> 01:21:36,939
-"Oh, yeah, that was that moment."
-Yeah.
1650
01:21:37,023 --> 01:21:40,151
BOONE". So, it's just a hugely painful scene.
1651
01:21:42,111 --> 01:21:47,783
And he's great. This is one of the only
exterior scenes we shot in Amsterdam,
1652
01:21:47,867 --> 01:21:51,120
other than outside of Van Houten's house
and outside the Anne Frank House.
1653
01:21:53,039 --> 01:21:57,835
We were here for half a day.
They're doing these incredibly vulnerable
1654
01:21:58,044 --> 01:21:59,086
(CHUCKLES)
1655
01:21:59,170 --> 01:22:02,006
Moments of acting while they have
boats going by them,
1656
01:22:02,089 --> 01:22:04,926
really close to them.
Huge boats, people waving.
1657
01:22:05,009 --> 01:22:06,719
GREEN: Tourists waving
and taking pictures.
1658
01:22:06,802 --> 01:22:08,763
BOONE: Tourists yelling at them.
1659
01:22:08,846 --> 01:22:11,098
And you really have to block it out.
1660
01:22:11,182 --> 01:22:12,808
-GREEN: It was also freezing cold.
-It was freezing.
1661
01:22:12,892 --> 01:22:15,686
GREEN: They had to be surrounded by
these big coats the moment that
1662
01:22:17,063 --> 01:22:18,397
-you yelled cut.
-Yeah.
1663
01:22:18,481 --> 01:22:21,776
GREEN: And they just... Yeah.
-Get a coat on Shai as quick as we can.
1664
01:22:21,859 --> 01:22:23,861
'Cause those tears are freezing on her face.
1665
01:22:23,986 --> 01:22:27,490
GREEN: They just stayed in the moment.
It was amazing.
1666
01:22:27,573 --> 01:22:31,327
BOONE: Yeah. Ansel was just... Yeah.
1667
01:22:32,912 --> 01:22:34,705
And her going down on his...
1668
01:22:34,789 --> 01:22:37,458
I always find this to be really... Yeah.
1669
01:22:37,541 --> 01:22:38,960
GREEN: This was a moment
in the movie when.
1670
01:22:39,043 --> 01:22:41,087
There were a lot of these,
where I just felt like...
1671
01:22:41,921 --> 01:22:44,382
-BOONE: Love that cut.
-Oh, yeah. These people are just giving me
1672
01:22:44,465 --> 01:22:46,717
a tremendous gift that they were
1673
01:22:47,718 --> 01:22:49,887
sharing so much of themselves
with the story.
1674
01:22:49,971 --> 01:22:53,599
BOONE: Yeah, that's what you want
more than anything is for
1675
01:22:53,683 --> 01:22:56,686
actors to be vulnerable for your camera.
1676
01:22:57,937 --> 01:23:02,316
And usually, the only way to get that is
to be vulnerable with them.
1677
01:23:02,400 --> 01:23:04,735
But, yeah, they opened their hearts
to this movie.
1678
01:23:07,113 --> 01:23:08,948
(CRYING)
1679
01:23:14,870 --> 01:23:16,747
-Hey, listen.
-(SNIFFLES)
1680
01:23:17,665 --> 01:23:19,333
Don't you worry about me,
Hazel Grace, okay?
1681
01:23:19,500 --> 01:23:22,420
I'm gonna find a way to hang around here
and annoy you for a long time.
1682
01:23:23,045 --> 01:23:24,046
(CHUCKLES WEAKLY)
1683
01:23:29,635 --> 01:23:31,887
BOONE: So, I do really like
the Ray LaMontagne song
1684
01:23:31,971 --> 01:23:36,225
that plays at the end of this scene
and carries us back to Indianapolis.
1685
01:23:36,309 --> 01:23:39,979
Or Pittsburgh, depending on
how you want to look at it.
1686
01:23:40,062 --> 01:23:44,233
And this was a B-side he had written
for the Gossip in the Grain album
1687
01:23:44,317 --> 01:23:47,069
that he had and that he had never used
or given to anyone
1688
01:23:47,153 --> 01:23:49,530
and we were lucky enough to get it.
1689
01:23:49,613 --> 01:23:52,325
And it survived
from some of our earliest cuts.
1690
01:23:53,284 --> 01:23:56,120
GREEN: It was important to me that
they can still kiss in this moment.
1691
01:23:57,705 --> 01:23:59,999
-BOONE: 'Cause you would.
-Yeah. You can be sad
1692
01:24:00,082 --> 01:24:02,251
and devastated and trying to
process something
1693
01:24:02,335 --> 01:24:07,590
and still attracted to the people you like.
1694
01:24:08,341 --> 01:24:10,384
Particularly if they are as good looking
as Shailene and Ansel.
1695
01:24:10,468 --> 01:24:12,136
-BOONE: Yes, they are quite good looking.
-Oh, man.
1696
01:24:12,219 --> 01:24:13,220
(BOONE LAUGHS)
1697
01:24:13,971 --> 01:24:15,848
GREEN: And such great people.
-Yeah.
1698
01:24:15,931 --> 01:24:18,517
-They are wonderful people.
-It's been such a privilege to
1699
01:24:18,601 --> 01:24:21,812
become friends with both of them.
And Nat and really the whole cast.
1700
01:24:22,980 --> 01:24:23,981
I am sure your movies
are always like this, Boone.
1701
01:24:24,774 --> 01:24:28,652
But it was such a positive vibe,
1702
01:24:28,736 --> 01:24:30,905
-every day on set.
-Yeah.
1703
01:24:30,988 --> 01:24:32,573
The first one was like that, too.
1704
01:24:32,656 --> 01:24:34,909
So much of, I think,
the best thing about making movies
1705
01:24:34,992 --> 01:24:37,870
is you are kind of like
a wandering theater troupe.
1706
01:24:37,995 --> 01:24:39,080
GREEN: Mm-hmm.
-You just always go
1707
01:24:39,163 --> 01:24:41,248
and you've got
a whole new crew of people
1708
01:24:41,332 --> 01:24:44,168
and you become a family
and the family splits up
1709
01:24:44,251 --> 01:24:47,755
and you go make another family
and sometimes you carry people over.
1710
01:24:47,838 --> 01:24:51,926
So, it's the relationships you have
and the moments you have with people
1711
01:24:52,009 --> 01:24:56,764
and the wonderful people you get to meet
when you make a movie that's so much
1712
01:24:56,847 --> 01:24:59,433
the important thing, it is the part
that nobody sees who sees the movie
1713
01:24:59,517 --> 01:25:02,311
'cause you all put all the love into it.
1714
01:25:02,395 --> 01:25:04,939
But there's a whole other story behind
the making of the movie
1715
01:25:05,022 --> 01:25:07,358
and just the friendships that are built
and the times that you have.
1716
01:25:09,151 --> 01:25:12,988
GREEN: Yeah. I always felt like a movie
was a kind of a delusion.
1717
01:25:13,072 --> 01:25:15,574
-BOONE: It is.
-And all these people come in...
1718
01:25:16,242 --> 01:25:18,744
BOONE: It's not the real world.
It is a world you create.
1719
01:25:18,828 --> 01:25:20,413
GREEN: Yeah. Yeah.
1720
01:25:20,496 --> 01:25:23,374
BOONE: They throw you in a strange city
with a bunch of people you don't know
1721
01:25:23,457 --> 01:25:24,959
and very quickly you get to know
each other very well.
1722
01:25:25,042 --> 01:25:26,043
GREEN: Right.
It's almost like summer camp.
1723
01:25:26,127 --> 01:25:27,128
BOONE: ll' is.
1724
01:25:27,211 --> 01:25:28,629
GREEN: You just become
so close so quickly.
1725
01:25:28,712 --> 01:25:29,964
BOONE: It is like summer camp.
1726
01:25:30,047 --> 01:25:34,718
GREEN: Then you smash to
Gus and Hazel being cute.
1727
01:25:34,802 --> 01:25:38,472
BOONE: And back to Nat Wolff,
who we've missed seeing. Here he is.
1728
01:25:38,556 --> 01:25:39,682
GREEN: Yeah.
1729
01:25:39,765 --> 01:25:41,767
-BOONE: Isaac.
-It's too long of a break without Nat.
1730
01:25:41,851 --> 01:25:44,937
BOONE: Yeah, we'll talk a little bit about
Nat's preparation for the role.
1731
01:25:45,020 --> 01:25:47,148
So, he wore blinding contact lenses
1732
01:25:47,231 --> 01:25:49,733
when he was on set
and blinding sunglasses
1733
01:25:50,192 --> 01:25:53,904
when he didn't have
the blinding contacts in.
1734
01:25:53,988 --> 01:25:55,406
Um...
1735
01:25:55,489 --> 01:25:56,991
His mom took him out to New York City
1736
01:25:57,074 --> 01:25:59,952
and, I guess, took him around
while he was...
1737
01:26:00,035 --> 01:26:01,328
GREEN: He walked around blind
for a couple of days.
1738
01:26:01,412 --> 01:26:03,706
BOONE: And had him throw eggs blind
and did some things like that.
1739
01:26:03,789 --> 01:26:04,957
And Margaret took him around.
1740
01:26:05,040 --> 01:26:10,504
GREEN: He also got to meet with a guy
named Ethan, who went blind in his teens.
1741
01:26:10,588 --> 01:26:12,298
-BOONE: Wow.
-And that was really important for Nat
1742
01:26:12,381 --> 01:26:16,260
because it was a way to talk to someone
who had been through a similar experience
1743
01:26:16,343 --> 01:26:19,305
and he found Ethan really, really funny.
1744
01:26:19,388 --> 01:26:21,849
-BOONE: Yeah.
-But funny with an edge, with a hard edge.
1745
01:26:21,932 --> 01:26:23,726
And I think he brought a lot of that
to the character.
1746
01:26:23,809 --> 01:26:26,228
BOONE: Well, that is something I have said
and I'd say it before,
1747
01:26:26,312 --> 01:26:28,731
it's like meeting these kids who are living
with cancer
1748
01:26:28,814 --> 01:26:30,608
validated the book for me so much.
1749
01:26:30,691 --> 01:26:33,277
Like, I loved the book but meeting kids
who were actually like Hazel and Gus
1750
01:26:33,360 --> 01:26:36,363
and had such big worlds and
talked about so many interesting things
1751
01:26:36,447 --> 01:26:39,116
validated everything about
this story for me
1752
01:26:39,200 --> 01:26:42,036
'cause they really felt
even more real after that.
1753
01:26:42,411 --> 01:26:46,040
GREEN: Yeah, I am lucky that some
of those people are still my friends.
1754
01:26:46,123 --> 01:26:52,963
I am going to see PJ tomorrow and we saw
Josh and Cindy just a couple of days ago.
1755
01:26:53,088 --> 01:26:55,466
BOONE: That's so cool.
-And some other people as well.
1756
01:26:55,549 --> 01:26:58,886
It is really special to be able to
continue those relationships.
1757
01:26:58,969 --> 01:27:02,264
-This is a great Nat Wolff line.
-Nat Wolff improv. Yeah.
1758
01:27:02,348 --> 01:27:04,975
-One of my favorite little moments, is him.
-Yeah.
1759
01:27:05,100 --> 01:27:07,895
-BOONE: "Eggs? I smell eggs."
-Did he grab that cigarette, too?
1760
01:27:07,978 --> 01:27:10,814
BOONE: Yeah, that's just him.
He's like, "Give me a cigarette."
1761
01:27:10,898 --> 01:27:11,982
ISAAC: Hey, guys?
1762
01:27:12,149 --> 01:27:14,485
I smell eggs. That eggs?
1763
01:27:15,110 --> 01:27:17,112
BOONE: So good.
GREEN: I love this car.
1764
01:27:17,196 --> 01:27:21,575
BOONE: "It's exhilarating, " was also one
of my favorite things that he improvised.
1765
01:27:21,659 --> 01:27:23,285
(LAUGHS) "It's so exhilarating!"
1766
01:27:23,369 --> 01:27:25,913
GREEN:
One of my favorite lines in the movie,
1767
01:27:25,996 --> 01:27:27,915
one of the most important lines
in the movie, to me,
1768
01:27:27,998 --> 01:27:31,502
is an improvised line in this scene where
1769
01:27:33,712 --> 01:27:36,882
Gus says, "It's all dark to Isaac, "
1770
01:27:36,966 --> 01:27:41,428
and Nat's about to throw an egg and then
he stops and turns around and he says,
1771
01:27:41,512 --> 01:27:45,432
"| am blind, not deaf and I don't love it
when you make fun of my disability."
1772
01:27:45,516 --> 01:27:48,435
Because that is a moment where
he refuses to be the butt of the joke.
1773
01:27:48,519 --> 01:27:49,603
-BOONE: Yeah.
-He refuses to be the joke,
1774
01:27:49,687 --> 01:27:51,605
and he is like,
"| am a funnier person than you are."
1775
01:27:51,689 --> 01:27:54,275
BOONE: He's like,
"| am a character in my own movie."
1776
01:27:54,358 --> 01:27:57,152
GREEN: Exactly,
"I am a funny person, not a joke,
1777
01:27:57,236 --> 01:28:00,072
"and I am going to prove that to you
right now."
1778
01:28:00,155 --> 01:28:02,908
It is a way of calling out
your best friend really lovingly.
1779
01:28:02,992 --> 01:28:05,452
-BOONE: Yeah. He did.
-And he just did that in the moment.
1780
01:28:05,536 --> 01:28:08,289
BOONE: Yeah, no, and that's what you want
in movies, more than anything else.
1781
01:28:08,372 --> 01:28:12,459
It's like those little magical things that
they add to it that make it so much better
1782
01:28:12,543 --> 01:28:16,005
-than it was in your head.
-That is the absolute magic of a movie.
1783
01:28:16,088 --> 01:28:17,798
-BOONE: It is.
-I always thought that it would be less
1784
01:28:17,881 --> 01:28:19,758
when it became collaborative.
1785
01:28:19,842 --> 01:28:22,511
That somehow it would be less
my vision alone.
1786
01:28:22,595 --> 01:28:24,555
But what actually happened in the case
of this movie is
1787
01:28:24,638 --> 01:28:30,936
that it became more. All of these peoples'
passion and talent and skills came together
1788
01:28:31,020 --> 01:28:34,690
to make it something that was
much greater than what I had imagined.
1789
01:28:34,773 --> 01:28:37,985
BOONE: Yeah, having made two movies,
I don't believe in the auteur theory
1790
01:28:38,068 --> 01:28:40,613
or any of that stuff.
So many people work on a movie
1791
01:28:40,696 --> 01:28:44,617
and so many people make it work.
1792
01:28:44,825 --> 01:28:47,578
It's everybody.
It's a gigantic collaborative effort.
1793
01:28:47,661 --> 01:28:51,749
I don't know that there is a more
collaborative art form than making movies.
1794
01:28:51,832 --> 01:28:54,001
I mean, you'll see a thing
at the end of the movie that says,
1795
01:28:54,084 --> 01:28:58,339
"13,000 people worked on this movie
over hundreds of thousands of man hours."
1796
01:28:58,422 --> 01:29:00,382
-It's just true.
-Yeah.
1797
01:29:01,842 --> 01:29:04,678
Speaking of how many people work
on this movie, by the way.
1798
01:29:04,762 --> 01:29:06,388
The person who threw that egg
1799
01:29:06,472 --> 01:29:08,932
as the door was closing
1800
01:29:09,016 --> 01:29:10,517
-and managed to get it perfectly.
-Yeah.
1801
01:29:10,601 --> 01:29:12,186
-GREEN: That is not a special effects shot.
-No.
1802
01:29:12,269 --> 01:29:14,688
GREEN: That really happened.
-We said, "Who's the best pitcher here?"
1803
01:29:14,772 --> 01:29:16,899
We had some people try out
and that's what he did.
1804
01:29:16,982 --> 01:29:18,901
GREEN: It was an amazing, amazing throw.
1805
01:29:18,984 --> 01:29:20,611
BOONE: We weren't supposed to throw
eggs in the house
1806
01:29:20,694 --> 01:29:23,405
and I know we had to spend some money
cleaning up the inside.
1807
01:29:23,489 --> 01:29:25,366
-'Cause it went all over her carpet...
-Worth it.
1808
01:29:25,449 --> 01:29:28,035
BOONE: ...expensive chairs.
-Worth it.
1809
01:29:28,118 --> 01:29:30,663
-Very nice house. Yeah.
-But it is in movie history now.
1810
01:29:30,746 --> 01:29:32,873
And I love this.
1811
01:29:32,956 --> 01:29:34,833
So, my first assistant editor,
Greg Borkman,
1812
01:29:34,917 --> 01:29:37,419
put this Kodaline song in the movie.
1813
01:29:37,628 --> 01:29:39,088
And sent it to me on set
1814
01:29:39,171 --> 01:29:43,509
and I was so grateful to him for finding it
and getting that moment tonally right.
1815
01:29:43,592 --> 01:29:45,678
I owe him a lot for that.
1816
01:29:46,261 --> 01:29:48,889
One of my best buddies.
1817
01:29:48,972 --> 01:29:51,558
GREEN: And this is where you start
to really sense Hazel's fear.
1818
01:29:51,642 --> 01:29:53,560
-BOONE: Yeah.
-Just the way she pulls the phone
1819
01:29:53,644 --> 01:29:58,107
-up to her ear.
-'Cause she is expecting it at any time.
1820
01:29:58,899 --> 01:30:01,402
I know for Ansel, this next scene was
1821
01:30:01,485 --> 01:30:04,154
a really, really important scene for him
as an actor.
1822
01:30:04,321 --> 01:30:05,322
Um...
1823
01:30:06,657 --> 01:30:10,160
Probably the most gratifying day
for him on the movie, I think, he would say.
1824
01:30:10,703 --> 01:30:15,290
He really went to places
he'd never been before,
1825
01:30:15,374 --> 01:30:18,502
I know really went home feeling like
he had really given it his all.
1826
01:30:19,086 --> 01:30:20,754
GREEN: Yeah, it's just so raw.
1827
01:30:20,838 --> 01:30:24,550
BOONE: And this is just Ben Richardson
running around with a handheld camera.
1828
01:30:24,633 --> 01:30:27,177
That's pretty much
how this entire scene was shot.
1829
01:30:27,261 --> 01:30:31,807
I was behind him, with his butt in my face
most of the time holding an HD monitor
1830
01:30:31,890 --> 01:30:34,184
and I'd just run after him
and look at everything.
1831
01:30:34,935 --> 01:30:37,646
So, there was a lot of energy
on set on this night.
1832
01:30:38,731 --> 01:30:40,482
We shot very late at night.
1833
01:30:40,566 --> 01:30:44,486
We also shot the ambulance scene,
which was cut from the final film,
1834
01:30:45,070 --> 01:30:48,741
immediately following this, so this was
a 5:00, 6:00 in the morning shoot.
1835
01:30:50,325 --> 01:30:52,786
We were just there all night
and it was cold, cold, cold.
1836
01:30:53,787 --> 01:30:56,582
-GREEN: He was just...
-Yeah. He just goes for it.
1837
01:30:57,916 --> 01:31:01,545
-GREEN: ...in that place. It's tough to watch.
-It's tough to watch. Yeah.
1838
01:31:02,963 --> 01:31:06,759
GREEN: But, I think, this is what's
really important to the movie,
1839
01:31:07,092 --> 01:31:09,052
that you see this reality
1840
01:31:09,219 --> 01:31:12,556
of your life becoming
more circumscribed of the...
1841
01:31:13,807 --> 01:31:16,310
-BOONE: The dehumanizing...
-(STAMMERING)
1842
01:31:16,393 --> 01:31:18,687
GREEN: That it is really, really difficult
to hold on. Look at how bad...
1843
01:31:18,771 --> 01:31:20,481
He just wants to hold on to
1844
01:31:20,564 --> 01:31:24,651
his dignity, his sense of self
and it's just being taken away from him
1845
01:31:24,818 --> 01:31:28,155
-and it's so hard for him to live with that.
-Yeah.
1846
01:31:28,489 --> 01:31:33,660
GREEN: And that's the real hero's journey
of his story,
1847
01:31:33,744 --> 01:31:37,247
that he starts out looking like a hero,
looking strong.
1848
01:31:37,372 --> 01:31:38,957
BOONE: But he's actually
just a scared little boy.
1849
01:31:39,041 --> 01:31:40,751
GREEN: Yeah.
1850
01:31:40,834 --> 01:31:45,422
And it's only when
he becomes open and frail,
1851
01:31:46,840 --> 01:31:48,050
that's when they're most together.
1852
01:31:48,133 --> 01:31:50,177
That's when they're most
honest with each other.
1853
01:31:50,552 --> 01:31:53,388
That is a journey that
we are all going to have to take,
1854
01:31:53,472 --> 01:31:56,016
and he doesn't get to make it
the way that he wants to.
1855
01:31:56,099 --> 01:31:58,811
He doesn't get to jump on the grenade
and save all the kids like he wants to.
1856
01:31:59,228 --> 01:32:02,606
It's a different kind of heroism,
but still very real.
1857
01:32:02,689 --> 01:32:05,943
BOONE: I thought a lot about the thing
that struck me the most about the book
1858
01:32:06,026 --> 01:32:09,530
and in the movie, as well,
that I related the most to my own life was
1859
01:32:09,613 --> 01:32:12,991
my friend who passed away,
who had cancer,
1860
01:32:14,117 --> 01:32:15,202
who I was in hospice with,
1861
01:32:15,285 --> 01:32:18,413
and was with him up until he passed away.
1862
01:32:18,497 --> 01:32:23,043
He was a guy who didn't feel like
he had accomplished that much in his life.
1863
01:32:23,252 --> 01:32:26,463
He had done sound for game shows
for years and owned a record store,
1864
01:32:26,547 --> 01:32:27,673
and he gave me my first job,
1865
01:32:27,756 --> 01:32:30,008
and I was good friends with him
for about seven years.
1866
01:32:30,133 --> 01:32:31,677
And he was a father figure to me.
1867
01:32:32,594 --> 01:32:36,765
He always was so worried that he didn't
do enough or he didn't try to do enough.
1868
01:32:36,848 --> 01:32:42,729
He passed away and we went to
just a little memorial thing for him,
1869
01:32:42,813 --> 01:32:46,650
and so many people came and I saw
how many people's lives he had affected.
1870
01:32:46,817 --> 01:32:51,071
And I thought a lot about Gus
and about my friend when I read the book.
1871
01:32:51,405 --> 01:32:52,906
That just resonated with me so much,
1872
01:32:52,990 --> 01:32:55,450
just her saying,
"Isn't it enough that I love you?"
1873
01:32:55,659 --> 01:32:58,495
-GREEN: Well, and to be loved deeply.
-Yeah, and to be loved deeply.
1874
01:32:58,620 --> 01:33:01,957
GREEN: In our culture,
we reward broad love.
1875
01:33:02,040 --> 01:33:05,002
We think that the best kind of life
is the kind that everyone notices.
1876
01:33:05,127 --> 01:33:08,171
The kind that you're famous or notorious
or whatever.
1877
01:33:08,755 --> 01:33:10,966
But the truth is that
all that really matters is the deep love,
1878
01:33:11,049 --> 01:33:13,343
the love between the people
you're really connected to.
1879
01:33:16,847 --> 01:33:19,683
When he talks about that,
and it will be very soon,
1880
01:33:19,766 --> 01:33:21,643
-Hazel really pushes back.
-Yeah.
1881
01:33:21,727 --> 01:33:23,604
GREEN: That's maybe my favorite scene
in the movie,
1882
01:33:23,687 --> 01:33:25,981
because Hazel just does not...
1883
01:33:26,064 --> 01:33:29,359
Even when he's dying, she won't let him...
1884
01:33:29,693 --> 01:33:31,695
She thinks that's just bull.
1885
01:33:33,155 --> 01:33:36,825
BOONE: It's not until the very, very end that
we know that she got through to him.
1886
01:33:37,993 --> 01:33:38,994
GREEN: Right.
1887
01:33:42,497 --> 01:33:46,877
BOONE: 'Cause the reality of the dreams
you have for your life against this reality
1888
01:33:47,085 --> 01:33:49,212
has got to be a pretty crippling thing,
1889
01:33:49,379 --> 01:33:52,883
'cause you feel like you could do anything,
you're a big basketball star.
1890
01:33:53,216 --> 01:33:55,719
Everything should be going
according to plan.
1891
01:33:56,303 --> 01:33:57,304
GREEN: Mm-hmm.
1892
01:33:57,387 --> 01:34:00,432
Yeah. No, I mean,
it's just a difficult thing to...
1893
01:34:00,515 --> 01:34:02,976
It's really difficult to reconcile yourself to.
1894
01:34:04,394 --> 01:34:06,229
You know, I was thinking a lot
about my friend Esther
1895
01:34:06,313 --> 01:34:08,815
when I was writing the book
and also when we were filming the movie.
1896
01:34:08,899 --> 01:34:13,153
We started filming the movie the day after
the third anniversary of Esther's death.
1897
01:34:14,571 --> 01:34:17,324
I was thinking about how...
1898
01:34:18,617 --> 01:34:22,162
Esther never knew,
or I guess she did at the end of her life,
1899
01:34:22,287 --> 01:34:24,164
she got a lot of attention from
1900
01:34:24,247 --> 01:34:27,084
within the community of people
who watch her videos.
1901
01:34:27,334 --> 01:34:29,336
It was a very important community to her.
1902
01:34:29,419 --> 01:34:32,506
But the meaning in her life,
the real meaning in her life, was in her life.
1903
01:34:32,589 --> 01:34:35,342
It was her connections to real people.
1904
01:34:35,634 --> 01:34:38,929
And that's what
Hazel's trying to say to him here.
1905
01:34:40,972 --> 01:34:44,685
Yeah. And I think it's hard to hear,
'cause you still...
1906
01:34:45,310 --> 01:34:47,479
You've been taught your whole life
to want to be famous,
1907
01:34:47,562 --> 01:34:51,566
to want to be successful, to want to
make an impact that everyone notices.
1908
01:34:51,650 --> 01:34:54,236
It's hard to hear that there's meaning
in treading lightly, but there is.
1909
01:34:54,319 --> 01:34:58,156
And I like that she doesn't let him off easy
just 'cause he's sick.
1910
01:34:58,240 --> 01:35:00,325
You think that the only way
to lead a meaningful life...
1911
01:35:00,492 --> 01:35:04,454
is for everyone
to remember you, for everyone to love you.
1912
01:35:04,913 --> 01:35:07,958
Guess what, Gus.
This is your life, okay?
1913
01:35:08,125 --> 01:35:09,793
This is all you get.
1914
01:35:10,252 --> 01:35:12,045
You get me,
and you get your family,
1915
01:35:12,129 --> 01:35:14,423
and you get this world,
and that's it.
1916
01:35:14,589 --> 01:35:16,883
And if that's not
enough for you,
1917
01:35:16,967 --> 01:35:19,219
then I'm sorry,
but it's not nothing.
1918
01:35:19,970 --> 01:35:22,848
BOONE: But then those tears come up
when she says...
1919
01:35:22,931 --> 01:35:26,852
It's always moved me so much when
she said, "I'll remember you. I'll love you."
1920
01:35:27,978 --> 01:35:30,564
'Cause that's all anybody really wants.
1921
01:35:30,897 --> 01:35:33,233
-GREEN: And that's all you get.
-And all anybody really needs.
1922
01:35:33,316 --> 01:35:35,652
GREEN: Yeah, that's all you get,
'cause it doesn't...
1923
01:35:36,486 --> 01:35:39,239
Being loved widely
doesn't fill the void at all.
1924
01:35:39,322 --> 01:35:42,284
BOONE: 'Cause they still didn't know
who you were as a human being.
1925
01:35:42,367 --> 01:35:44,786
So, it's the people who remember you
and knew you and spent time with you
1926
01:35:44,870 --> 01:35:47,456
-that carry you on.
-Yeah, exactly. Exactly.
1927
01:35:47,539 --> 01:35:51,585
Like that line that Laura has about
how she'll always be Hazel's mom.
1928
01:35:51,668 --> 01:35:52,836
BOONE: Yeah. Nothing will change that.
1929
01:35:53,003 --> 01:35:55,756
GREEN: And it is true. I think,
1930
01:35:55,922 --> 01:35:59,801
certainly, as long as
either my son or me is alive,
1931
01:35:59,885 --> 01:36:01,344
-I'm going to be his dad.
-Yeah.
1932
01:36:01,428 --> 01:36:02,929
GREEN: He's going to be my kid.
-Yeah.
1933
01:36:03,013 --> 01:36:04,931
GREEN: That relationship
does survive death.
1934
01:36:05,015 --> 01:36:06,808
The love does survive death, in that way.
1935
01:36:08,435 --> 01:36:11,521
BOONE: And they're survived through you,
and you're survived through them.
1936
01:36:11,605 --> 01:36:12,606
GREEN: Yeah.
1937
01:36:12,731 --> 01:36:14,399
That's one of my favorite moments
in the movie,
1938
01:36:14,483 --> 01:36:16,943
-the way that she clinks his glass.
-Yeah.
1939
01:36:17,027 --> 01:36:18,028
GREEN". She's still kind of annoyed.
1940
01:36:18,111 --> 01:36:21,072
-She's still a little bit annoyed with him.
-(BOTH LAUGHING)
1941
01:36:21,823 --> 01:36:23,617
GREEN: Now I'm the one talking about
all my favorite moments.
1942
01:36:23,700 --> 01:36:25,118
BOONE: Yeah, yeah.
You got favorite moments.
1943
01:36:25,202 --> 01:36:27,621
GREEN: /do. (LAUGHS)
1944
01:36:27,704 --> 01:36:29,581
And this is nice.
This is a very nice touch
1945
01:36:29,664 --> 01:36:32,167
that was not in the book, that I like a lot.
1946
01:36:32,250 --> 01:36:35,086
BOONE: And this was Molly's idea,
1947
01:36:35,170 --> 01:36:37,964
-and we just said, "Great idea. Let's do it."
-Yeah, it's visually beautiful.
1948
01:36:38,048 --> 01:36:41,301
BOONE: Which is, like I said, when you get
people who are good at their jobs,
1949
01:36:41,384 --> 01:36:44,721
they bring great ideas to you,
and you say yes as often as possible.
1950
01:36:47,015 --> 01:36:50,227
You know, there's a shot of
Shai in the grass at the end,
1951
01:36:50,310 --> 01:36:51,728
wearing the white dress,
1952
01:36:51,812 --> 01:36:53,313
and that was just Mary Claire being like,
1953
01:36:53,396 --> 01:36:56,274
"I think she needs to wear a white dress.
I think she needs to be transformed."
1954
01:36:56,358 --> 01:36:58,485
And she said, she said... (LAUGHS)
1955
01:36:58,568 --> 01:37:01,154
Ben and I were cracking up
when she said it, but she was like,
1956
01:37:01,238 --> 01:37:04,533
"Maybe she's dead, maybe she's alive.
We don't know. Maybe she's a ghost."
1957
01:37:04,616 --> 01:37:06,284
(GREEN LAUGHS)
1958
01:37:06,368 --> 01:37:07,702
GREEN: I loved that
and it was really important to me.
1959
01:37:08,870 --> 01:37:11,331
Because the last two words
of the book are "| do,"
1960
01:37:11,414 --> 01:37:13,250
the thing that you say
when you're getting married.
1961
01:37:13,708 --> 01:37:16,336
And having her in that white dress,
putting her in that,
1962
01:37:16,419 --> 01:37:19,756
-you know, it's a wedding dress.
-Yeah.
1963
01:37:19,840 --> 01:37:21,132
GREEN: You can read it a lot of ways.
1964
01:37:21,216 --> 01:37:24,177
You can read it as a wedding dress,
you can read it as a funeral dress.
1965
01:37:25,011 --> 01:37:26,346
BOONE: I loved it 'cause it wasn't literal
1966
01:37:26,429 --> 01:37:28,598
and it wasn't a specific time
that it was taking place in,
1967
01:37:28,682 --> 01:37:30,851
and there was something sort of like...
1968
01:37:30,934 --> 01:37:33,478
I don't know.
I liked the white, it felt transformative.
1969
01:37:33,562 --> 01:37:38,525
Once again, it was a stretch of a choice that
I just believed in
1970
01:37:38,608 --> 01:37:40,277
-and I was like, "Let's do it."
-Yeah.
1971
01:37:40,360 --> 01:37:41,486
BOONE: I didn't need it
to make literal sense to me.
1972
01:37:41,570 --> 01:37:42,654
GREEN: Right.
1973
01:37:42,737 --> 01:37:44,197
That's what I like about it.
1974
01:37:44,281 --> 01:37:46,157
BOONE: This was a very
challenging scene to film.
1975
01:37:46,241 --> 01:37:49,452
It was definitely one of
the most challenging days on set.
1976
01:37:49,536 --> 01:37:51,955
It was one of the most important scenes
in the film to get right.
1977
01:37:52,247 --> 01:37:56,126
Everybody had very strong opinions about
what this scene should be.
1978
01:37:57,043 --> 01:37:59,504
We fought and scraped for every bit of it
but we got it,
1979
01:37:59,588 --> 01:38:02,632
and it's one of the most powerful moments
in the movie, I think.
1980
01:38:03,008 --> 01:38:05,594
Everybody gave
so much of themselves that day
1981
01:38:05,677 --> 01:38:10,056
and cared so much about it
being translated properly.
1982
01:38:10,140 --> 01:38:14,019
GREEN: It's a hard scene 'cause you had
to hit two or three notes pretty quickly
1983
01:38:14,102 --> 01:38:16,313
that are hit in the book over several pages.
1984
01:38:17,564 --> 01:38:20,358
You had to do all of that kind of together.
1985
01:38:20,442 --> 01:38:22,027
And it was really, really difficult.
1986
01:38:22,110 --> 01:38:23,612
But, I think, in the end,
1987
01:38:25,030 --> 01:38:27,824
largely down to their performances.
1988
01:38:28,909 --> 01:38:31,786
I think Scott and Mike
rewrote the scene several times.
1989
01:38:31,870 --> 01:38:33,830
BOONE: Many times, yeah.
1990
01:38:33,914 --> 01:38:37,000
GREEN: And I think... I was going
to say "we. " I think they finally got there,
1991
01:38:37,083 --> 01:38:38,960
and it's really, really powerful.
1992
01:38:39,044 --> 01:38:42,088
BOONE: And even at the end,
even in editing, we did some juggling.
1993
01:38:42,422 --> 01:38:45,634
We moved some things around,
just trying to get that rhythm right.
1994
01:38:45,717 --> 01:38:49,262
It's such a long scene and it's all conflict.
1995
01:38:49,346 --> 01:38:51,932
And it's just making sure that you don't hit
the same points over and over,
1996
01:38:52,015 --> 01:38:55,310
and everything is gotten across
as succinctly as possible
1997
01:38:55,393 --> 01:38:57,062
and is balanced right,
1998
01:38:57,145 --> 01:39:00,315
is the key to scenes like this.
1999
01:39:01,524 --> 01:39:04,653
-GREEN: It is so hard to make a movie.
-So hard.
2000
01:39:04,945 --> 01:39:05,946
(LAUGHS)
2001
01:39:06,029 --> 01:39:07,530
GREEN: And it happens over so long.
2002
01:39:07,656 --> 01:39:11,034
I was there on set
and I could never have guessed.
2003
01:39:11,117 --> 01:39:12,369
I was there on set this whole day.
2004
01:39:12,452 --> 01:39:14,788
I could never have guessed
what this scene would look like.
2005
01:39:14,871 --> 01:39:15,872
-You know what I mean?
-Oh, yeah.
2006
01:39:15,956 --> 01:39:18,041
GREEN: I would never have imagined.
-I was praying it would work.
2007
01:39:18,124 --> 01:39:20,961
GREEN: Yeah. I mean,
I didn't know if it had worked.
2008
01:39:21,044 --> 01:39:22,879
BOONE: Yeah, 'cause they
went to so many places
2009
01:39:22,963 --> 01:39:25,006
and it was so all
over the place emotionally.
2010
01:39:25,090 --> 01:39:29,427
But what they gave you in the editing room
is they give you choices.
2011
01:39:29,511 --> 01:39:30,971
So, it doesn't just have to be one thing,
2012
01:39:31,054 --> 01:39:33,640
and you could go down
a lot of different paths.
2013
01:39:33,723 --> 01:39:35,809
What you want is to collect
all the raw material that you can,
2014
01:39:36,893 --> 01:39:39,479
so that once you get in the editing room,
you can play
2015
01:39:39,562 --> 01:39:42,524
and try to write the scene in
as many different ways as possible
2016
01:39:42,607 --> 01:39:44,317
and just see what works.
2017
01:39:44,401 --> 01:39:46,486
GREEN: I want to rescind
my earlier statement that
2018
01:39:46,569 --> 01:39:48,989
the scene at Funky Bones
was my favorite scene in the movie.
2019
01:39:49,072 --> 01:39:50,573
This is my favorite scene in the movie.
2020
01:39:50,657 --> 01:39:52,492
It's also my favorite, favorite day on set.
2021
01:39:52,575 --> 01:39:54,411
BOONE: This has my favorite
performance moment
2022
01:39:54,494 --> 01:39:56,037
from Shailene in the movie, definitely.
2023
01:39:56,121 --> 01:39:57,580
GREEN: This is what Shailene
did in her audition
2024
01:39:57,664 --> 01:39:59,916
that made me think that
she had to be Hazel.
2025
01:40:00,000 --> 01:40:01,376
BOONE: Same. Absolutely.
I felt the same way.
2026
01:40:01,459 --> 01:40:05,797
I was worried. Shailene is so athletic
and so strong-feeling that I was like,
2027
01:40:05,880 --> 01:40:09,676
"She can't be a frail, fragile girl
who has cancer."
2028
01:40:09,759 --> 01:40:13,513
And when she walked into
that audition room, she was that girl.
2029
01:40:13,596 --> 01:40:17,517
She was not Shailene Woodley anymore.
She came in and she was Hazel.
2030
01:40:18,435 --> 01:40:20,353
That was a special night
for these guys, too,
2031
01:40:20,437 --> 01:40:22,355
for Nat and Ansel and Shai.
2032
01:40:23,273 --> 01:40:26,526
This was the culmination, I guess, of
the Pittsburgh shoot, in some ways,
2033
01:40:26,609 --> 01:40:29,112
and they were just so connected
and so on the same page.
2034
01:40:29,946 --> 01:40:33,658
GREEN: Yeah. And we stayed up probably
till 5:00 or 6:00 in the morning.
2035
01:40:33,742 --> 01:40:37,120
-It was a really, really long night.
-It was a long night. A lot of dialogue.
2036
01:40:37,203 --> 01:40:38,913
Once again, a lot of camera setups.
2037
01:40:38,997 --> 01:40:41,458
Takes a long time to light.
2038
01:40:42,625 --> 01:40:46,963
You run it and then you got to re-setup
another camera angle and light it again.
2039
01:40:47,255 --> 01:40:49,549
-It's not easy.
-Again, I want to underscore that.
2040
01:40:49,632 --> 01:40:53,970
Every single shot that you see
has been lit separately.
2041
01:40:54,054 --> 01:40:55,430
BOONE: I love that
you're so amazed by this.
2042
01:40:55,513 --> 01:40:56,890
GREEN: I was completely amazed by it.
2043
01:40:56,973 --> 01:40:59,142
My first few days on set, I was like,
2044
01:40:59,225 --> 01:41:01,978
"This is so inefficient.
Why can't they just light it for everything?"
2045
01:41:02,062 --> 01:41:03,146
And the answer, of course,
is that you can't.
2046
01:41:03,229 --> 01:41:04,981
-You can't do that.
-'Cause then it would look like bad TV.
2047
01:41:05,065 --> 01:41:07,776
-GREEN: Right, exactly. Right.
-(BOTH LAUGHING)
2048
01:41:08,318 --> 01:41:09,861
GREEN: That's the difference
between a TV movie and...
2049
01:41:09,944 --> 01:41:13,490
BOONE: Yeah, that is the difference,
it's the time that's put into every shot.
2050
01:41:15,450 --> 01:41:16,951
GREEN: The way this shot
is framed is so beautiful.
2051
01:41:17,035 --> 01:41:18,119
BOONE: Yeah.
2052
01:41:18,203 --> 01:41:21,081
And Nat makes it so credible,
and he makes it so...
2053
01:41:21,164 --> 01:41:25,752
Going from the humor and pathos
to the emotion is, uh, no small feat.
2054
01:41:25,835 --> 01:41:29,631
GREEN: I wanted this, I wanted the story
to be a story where you laugh,
2055
01:41:29,714 --> 01:41:32,675
like, literally, laugh while you're crying.
2056
01:41:33,051 --> 01:41:35,553
My favorite part about
watching the movie so far
2057
01:41:35,637 --> 01:41:39,390
with an audience
has been hearing these laughs,
2058
01:41:40,809 --> 01:41:44,145
where Isaac says, "Then, having
made my point... Robot eyes."
2059
01:41:44,229 --> 01:41:45,814
And then he gets emotional again.
2060
01:41:45,897 --> 01:41:47,065
I think that's so real,
2061
01:41:47,148 --> 01:41:50,860
that feels very realistic to
the teen experience to me.
2062
01:41:52,153 --> 01:41:55,031
-BOONE: It's all those emotions.
-That you're still yourself, you're still funny.
2063
01:41:56,032 --> 01:41:58,701
But you're also devastatingly sad.
2064
01:41:58,910 --> 01:42:00,954
BOONE: And then we come upon,
what I'm sure...
2065
01:42:01,037 --> 01:42:04,040
So, I was inside the sanctuary
with the actors,
2066
01:42:04,124 --> 01:42:08,962
and outside of the sanctuary
was everyone else on monitors.
2067
01:42:09,045 --> 01:42:11,965
So, when Shai was giving this eulogy,
I was in here, obviously,
2068
01:42:12,048 --> 01:42:13,591
and I wasn't out there to experience it.
2069
01:42:13,675 --> 01:42:16,636
-Was everybody just losing it?
-Yeah.
2070
01:42:16,719 --> 01:42:18,138
I mean, I was.
2071
01:42:18,221 --> 01:42:19,305
BOONE: I knew you were losing it.
2072
01:42:19,389 --> 01:42:20,473
-GREEN: I was sobbing.
-(LAUGHS)
2073
01:42:20,557 --> 01:42:22,433
GREEN: I was sobbing in front of
a bunch of strangers,
2074
01:42:22,517 --> 01:42:24,936
because there were, like,
agents on set that day.
2075
01:42:25,145 --> 01:42:27,230
And my publisher was there.
2076
01:42:27,313 --> 01:42:30,859
Julie has been with me
through this entire process,
2077
01:42:30,942 --> 01:42:34,070
through almost many, many years
of working on this book.
2078
01:42:34,362 --> 01:42:37,031
To have her there in this moment...
2079
01:42:38,158 --> 01:42:40,160
This scene in the book
was very hard to write.
2080
01:42:40,243 --> 01:42:42,871
It took a lot of drafts and it was very slow.
2081
01:42:42,954 --> 01:42:45,748
BOONE: What was the draft process like?
2082
01:42:45,832 --> 01:42:50,128
Was it just the expanse of it
and you were just shrinking it?
2083
01:42:50,420 --> 01:42:54,299
GREEN: Yeah, I was just
trying to get it to its core.
2084
01:42:54,382 --> 01:42:55,592
BOONE: Yeah.
2085
01:42:56,050 --> 01:42:59,762
GREEN: I should say here that
Hazel was wrong about set theory.
2086
01:42:59,888 --> 01:43:01,598
The infinite set of numbers
between zero and one
2087
01:43:01,681 --> 01:43:04,100
is not bigger than the infinite set
of numbers between zero and two,
2088
01:43:04,184 --> 01:43:05,852
but she's also right about set theory,
2089
01:43:06,019 --> 01:43:08,021
in the sense that
what she took from Van Houten is correct,
2090
01:43:08,104 --> 01:43:11,024
that some infinities are
bigger than other infinities.
2091
01:43:11,107 --> 01:43:12,942
I was interested in the way that...
2092
01:43:13,610 --> 01:43:16,196
BOONE: She understood what he meant.
2093
01:43:16,279 --> 01:43:18,865
Yeah, exactly. She didn't have to be right
about the details to understand.
2094
01:43:18,948 --> 01:43:22,327
-BOONE: She learned a lesson. Yeah.
-Exactly. That was the idea.
2095
01:43:22,410 --> 01:43:23,536
BOONE: Yeah.
2096
01:43:25,079 --> 01:43:28,208
GREEN: Yeah.
This was directly from the book.
2097
01:43:28,333 --> 01:43:30,043
The dialogue is just directly from the book,
2098
01:43:30,126 --> 01:43:32,962
and it was one of those moments
where I just felt like
2099
01:43:33,046 --> 01:43:36,966
she had an almost
supernatural understanding of
2100
01:43:37,050 --> 01:43:38,760
the Hazel of my imagination.
2101
01:43:38,843 --> 01:43:41,346
BOONE: This was the scene
that got her the job.
2102
01:43:42,055 --> 01:43:47,810
There was no doubt within a minute
of her doing this eulogy
2103
01:43:47,894 --> 01:43:50,730
in a room with me
and my casting director, Ronna Kress.
2104
01:43:53,024 --> 01:43:56,694
It just didn't take any time, and I was like,
"Why did I make this so hard on myself?"
2105
01:43:56,778 --> 01:43:58,321
'Cause we auditioned 200 girls.
2106
01:43:58,571 --> 01:44:02,325
I was like, "Shailene's in her early 20s.
She can't be 16."
2107
01:44:02,450 --> 01:44:05,495
She came in, and she was.
2108
01:44:05,578 --> 01:44:08,790
And there was no looking back.
She was as good as it got.
2109
01:44:09,791 --> 01:44:13,544
I think she's the finest actress working
in her age range without any doubt.
2110
01:44:13,628 --> 01:44:14,754
GREEN". Oh, yeah. She's just amazing.
2111
01:44:14,837 --> 01:44:15,922
BOONE: And this is the moment, for me.
2112
01:44:16,005 --> 01:44:17,882
It's the moment that
she puts her hand to her face.
2113
01:44:17,966 --> 01:44:19,676
-She puts her finger to her nose.
-Mm-hmm.
2114
01:44:19,759 --> 01:44:22,470
BOONE: It's my favorite little performance
moment from her in the entire movie.
2115
01:44:22,553 --> 01:44:24,305
I think it's just great.
2116
01:44:24,389 --> 01:44:26,474
It's the stuff that great acting is made of.
2117
01:44:27,433 --> 01:44:30,937
GREEN: Those long shots on Gus are so...
-So emotional.
2118
01:44:31,020 --> 01:44:33,773
GREEN: They're so
difficult to watch because
2119
01:44:33,856 --> 01:44:36,651
you know it's the last time
you're going to see him in the movie.
2120
01:44:36,734 --> 01:44:38,611
BOONE: Well, you don't.
Nobody watching the movie knows.
2121
01:44:38,695 --> 01:44:41,614
GREEN: I do. I know.
-You do. You know it's the last time.
2122
01:44:41,698 --> 01:44:44,158
That's right
and they did the music so beautifully.
2123
01:44:44,284 --> 01:44:47,161
Nate and Mike did right
when she did this right there.
2124
01:44:47,245 --> 01:44:49,289
GREEN". She's just trying to hold on.
2125
01:44:49,372 --> 01:44:52,583
BOONE: And I don't even know if
she's in the scene at this moment.
2126
01:44:52,709 --> 01:44:55,628
It's her trying to keep it together
so she can continue the scene,
2127
01:44:55,712 --> 01:44:59,340
but it's those little things that you steal
2128
01:44:59,465 --> 01:45:02,468
that make it so... They just all add up.
2129
01:45:02,844 --> 01:45:04,887
She's so good here.
2130
01:45:06,139 --> 01:45:07,849
We really can't say
anything bad about anybody.
2131
01:45:07,932 --> 01:45:09,559
It's like everybody was so wonderful.
2132
01:45:09,642 --> 01:45:11,686
It's like there's no bad stories to tell.
2133
01:45:11,769 --> 01:45:15,064
GREEN: It was a very charmed
few weeks on set.
2134
01:45:16,899 --> 01:45:18,985
The whole time just felt like
a dream come true for me.
2135
01:45:19,068 --> 01:45:20,987
BOONE: I mean, these actors had a hard job.
2136
01:45:21,070 --> 01:45:23,489
-GREEN: Well, they had to work so hard.
-They had really, really difficult jobs.
2137
01:45:23,573 --> 01:45:25,533
GREEN: I spent three hours acting,
2138
01:45:25,616 --> 01:45:27,201
and I thought it was awful.
2139
01:45:27,869 --> 01:45:29,662
I was like, "Why did I agree to do this?
2140
01:45:29,746 --> 01:45:32,623
"This is so much worse than
just being professionally excited."
2141
01:45:32,749 --> 01:45:34,000
I think we have to stop joking now
2142
01:45:34,083 --> 01:45:35,418
because something horrible is about
to happen.
2143
01:45:35,501 --> 01:45:37,462
BOONE: So, this was shot during the day.
2144
01:45:38,421 --> 01:45:41,090
Ben has blacked out the windows
and done the set for night,
2145
01:45:41,174 --> 01:45:43,468
and we were all downstairs
around the monitors,
2146
01:45:43,593 --> 01:45:49,098
and this was the hardest thing to watch
making this entire movie for me, definitely.
2147
01:45:50,433 --> 01:45:53,436
If you've had somebody close to you die,
you'd know
2148
01:45:54,228 --> 01:45:56,147
what it's like to lose control, grief-wise.
2149
01:45:56,230 --> 01:45:58,941
She understood that and went for it.
2150
01:45:59,025 --> 01:46:03,529
And we were so grateful to her that
she was willing to go to that place
2151
01:46:03,613 --> 01:46:05,573
-and make it this real.
-Yeah.
2152
01:46:07,075 --> 01:46:10,411
It was definitely the rawest scene
in the entire movie, for me, was this.
2153
01:46:11,621 --> 01:46:14,207
Your heart goes out to her so much.
2154
01:46:14,290 --> 01:46:16,501
GREEN: I was worried about her.
I wanted to go up and check on her.
2155
01:46:16,626 --> 01:46:18,127
-(BOONE LAUGHS)
-I did. I was really worried about her.
2156
01:46:18,211 --> 01:46:21,381
I mean, it was just so, so hard.
2157
01:46:23,966 --> 01:46:27,678
And I was thinking about
the losses I've experienced.
2158
01:46:29,347 --> 01:46:34,519
She just takes you to that place.
She lets you connect to your own emotion.
2159
01:46:35,061 --> 01:46:36,938
BOONE: 'Cause you remember.
She makes it authentic.
2160
01:46:37,021 --> 01:46:39,315
And that's why you recognize
and identify with it,
2161
01:46:39,440 --> 01:46:41,317
-because she's made it real.
-Yeah.
2162
01:46:41,692 --> 01:46:44,070
I also liked that you trusted
their performances enough here
2163
01:46:44,153 --> 01:46:47,031
-not to have any dialogue.
-Yeah. Yeah.
2164
01:46:48,074 --> 01:46:51,035
GREEN: (STAMMERS)
We know what's happening.
2165
01:46:51,119 --> 01:46:54,122
BOONE: Yeah, 'cause we shot it,
Ben and I did, where it's close,
2166
01:46:54,205 --> 01:46:55,957
comes a little bit further back,
and there's a wider.
2167
01:46:56,040 --> 01:46:57,959
And editing-wise,
2168
01:46:58,042 --> 01:47:01,003
Robb and I were just convinced
we had to hold on her face the whole time.
2169
01:47:02,505 --> 01:47:05,341
We didn't use anywhere
near the amount of footage we shot.
2170
01:47:05,425 --> 01:47:09,887
GREEN: Yeah. I mean, the crazy thing is that
Shai probably did that 12 times.
2171
01:47:09,971 --> 01:47:13,433
-BOONE: Yeah, absolutely.
-And every time, it was devastating.
2172
01:47:13,516 --> 01:47:14,600
That's why I wanted to go upstairs,
2173
01:47:14,684 --> 01:47:16,144
-'cause I was concerned about her.
-(LAUGHS)
2174
01:47:16,227 --> 01:47:19,355
GREEN: And of course,
after she did that for three hours,
2175
01:47:19,439 --> 01:47:21,899
she came downstairs and like,
sat in the chair next to me,
2176
01:47:21,983 --> 01:47:23,234
"Hey, John, you want to go to lunch?"
2177
01:47:23,317 --> 01:47:28,364
I was like, "No, I don't want to go to lunch,
Shailene. I'm terribly, terribly sad."
2178
01:47:29,323 --> 01:47:31,284
HAZEL". Later, when I started
feeling better...
2179
01:47:31,451 --> 01:47:34,120
the nurse came in
and she called me a fighter.
2180
01:47:34,203 --> 01:47:35,997
BOONE: We brought
rain machines on this day.
2181
01:47:36,080 --> 01:47:39,250
(LAUGHS) But we brought our rain
machines in and it was actually raining, too.
2182
01:47:39,375 --> 01:47:42,336
GREEN: Yeah. But it rained more,
thanks to the rain machines.
2183
01:47:43,796 --> 01:47:45,798
BOONE: This is one of my favorite cuts
in the movie.
2184
01:47:45,882 --> 01:47:48,801
Off her closing her eyes,
to her eyes being closed at the funeral
2185
01:47:48,885 --> 01:47:51,471
I think, is a beautiful visual transition.
2186
01:47:51,554 --> 01:47:52,972
GREEN: Was that purposeful?
Did you plan that out?
2187
01:47:53,055 --> 01:47:54,640
BOONE". Oh, yeah. Yeah, absolutely.
2188
01:47:57,477 --> 01:47:58,478
It's a nice...
2189
01:47:58,561 --> 01:48:00,563
I'm actually on the bed behind Shai.
(LAUGHS)
2190
01:48:00,646 --> 01:48:02,148
You just can't see me.
2191
01:48:02,398 --> 01:48:03,441
I've been hidden.
2192
01:48:04,901 --> 01:48:06,027
GREEN: Yeah. /never made that connection.
2193
01:48:06,110 --> 01:48:08,070
I never saw how clever that was
till just now.
2194
01:48:08,154 --> 01:48:09,739
-BOONE: (LAUGHS) Yeah, yeah.
-Thanks for mentioning it.
2195
01:48:11,115 --> 01:48:13,951
And Ben, when Van Houten walks up here,
2196
01:48:14,035 --> 01:48:17,121
I love how he lit her face so much
when she looks up at him.
2197
01:48:17,205 --> 01:48:18,498
GREEN: Mm-hmm.
2198
01:48:18,581 --> 01:48:20,374
BOONE: He puts this
shaft of light on her face,
2199
01:48:20,458 --> 01:48:23,044
and it just makes the moment so powerful.
2200
01:48:23,753 --> 01:48:25,588
GREEN: One of the things
that was really important to me...
2201
01:48:25,671 --> 01:48:28,549
There you see Murph in the foreground,
by the way,
2202
01:48:28,633 --> 01:48:30,426
in his wheelchair there, on the screen left.
2203
01:48:31,636 --> 01:48:34,305
One of the things that was important to me
2204
01:48:35,097 --> 01:48:37,642
is that the movie not have
that kind of gauzy lighting
2205
01:48:37,725 --> 01:48:39,060
that you associate with cancer stories.
2206
01:48:39,143 --> 01:48:43,481
I thought Ben did an amazing job
of getting the light right
2207
01:48:43,564 --> 01:48:46,776
so it doesn't look over lit,
it doesn't look over romanticized.
2208
01:48:46,984 --> 01:48:50,613
BOONE: Yeah, it just goes back to
having the right references at the front.
2209
01:48:51,405 --> 01:48:55,284
He and I definitely...
I had seen Beasts and knew his work.
2210
01:48:55,368 --> 01:48:58,996
We vibe to the same photography
and the same looks in movies.
2211
01:48:59,080 --> 01:49:02,542
So, it was a harmonious partnership.
2212
01:49:03,417 --> 01:49:04,794
GREEN: And I love that
he's wearing a white suit.
2213
01:49:04,877 --> 01:49:06,546
-BOONE: Yes.
-Can't get anything right.
2214
01:49:06,629 --> 01:49:09,465
Can't even do a good job
of being at a funeral.
2215
01:49:09,549 --> 01:49:10,633
(BOONE LAUGHS)
2216
01:49:10,716 --> 01:49:14,387
Isn't part of it is just like
2217
01:49:14,470 --> 01:49:16,264
Van Houten wants attention
at the end of the day?
2218
01:49:16,347 --> 01:49:18,015
Just like everybody else.
2219
01:49:19,809 --> 01:49:22,103
GREEN: He thinks that he's going to be
the center of it somehow.
2220
01:49:22,186 --> 01:49:23,938
BOONE: His "fake-pray"
2221
01:49:24,939 --> 01:49:28,609
-delivery I thought was classic.
-It's such a good moment.
2222
01:49:29,485 --> 01:49:31,529
BOONE: Yeah, there.
2223
01:49:31,654 --> 01:49:33,322
GREEN: And I love the cigarettes.
2224
01:49:33,406 --> 01:49:35,157
He had an open casket in the book.
2225
01:49:35,241 --> 01:49:37,577
This is a little bit different,
but I really love this moment,
2226
01:49:37,660 --> 01:49:38,786
I love this shot.
2227
01:49:38,869 --> 01:49:41,831
Obviously, you can't have an open casket
at the actual burial.
2228
01:49:41,956 --> 01:49:44,083
BOONE: Yeah. In the script,
there was originally two scenes.
2229
01:49:44,166 --> 01:49:45,918
There was originally a scene at the church
2230
01:49:46,002 --> 01:49:47,712
and then there was a scene
at the graveyard.
2231
01:49:49,839 --> 01:49:52,800
I felt strongly, and we talked
about it more as filming progressed,
2232
01:49:52,883 --> 01:49:54,427
and we ended up
cutting the scene at the church,
2233
01:49:54,510 --> 01:49:57,430
'cause we thought that
it could all happen in one fell swoop,
2234
01:49:57,513 --> 01:49:59,181
and we also felt like
2235
01:49:59,390 --> 01:50:02,768
once Gus dies, you really have to move
quickly to get to the end of the story.
2236
01:50:02,852 --> 01:50:04,979
So, we compressed a little bit,
2237
01:50:05,062 --> 01:50:08,983
but you get everything you need here,
all the beats get across.
2238
01:50:10,109 --> 01:50:13,154
Isaac, I think,
had a second eulogy here originally.
2239
01:50:13,237 --> 01:50:15,531
I just was so long.
There was just too much stuff,
2240
01:50:15,615 --> 01:50:18,868
and Isaac had already given
such a beautiful fake eulogy earlier,
2241
01:50:18,951 --> 01:50:20,453
it felt like that encompassed it.
2242
01:50:20,536 --> 01:50:22,330
GREEN: Yeah.
And his real eulogy in the book
2243
01:50:22,413 --> 01:50:24,373
is not nearly as good as his fake eulogy.
2244
01:50:24,457 --> 01:50:26,709
BOONE". Of course.
Neither of their eulogies are.
2245
01:50:26,792 --> 01:50:30,463
GREEN: Of course, yeah.
Shai's is not nearly as good.
2246
01:50:30,546 --> 01:50:33,758
Although, she did a great job.
These are all improvised lines.
2247
01:50:34,300 --> 01:50:37,178
BOONE: Yeah. This is just her
giving a speech, yeah.
2248
01:50:38,012 --> 01:50:41,641
But I liked very much the point of it
with it being for his parents,
2249
01:50:41,724 --> 01:50:42,975
less so than for her.
2250
01:50:43,059 --> 01:50:45,603
She had had that moment
for herself before.
2251
01:50:45,978 --> 01:50:47,396
GREEN: She'd said what
she needed to say to Gus.
2252
01:50:47,480 --> 01:50:52,443
BOONE: If you look here in the background,
you'll see Nat Wolff coming up on his cane.
2253
01:50:52,526 --> 01:50:54,612
-Which I appreciate. There he is.
GREEN". Oh, there he is.
2254
01:50:54,695 --> 01:50:58,240
BOONE: And he's getting a lot of help there
from his stage mom.
2255
01:51:02,495 --> 01:51:04,413
This is very nice.
2256
01:51:05,247 --> 01:51:09,377
I like this scene a lot. She's great.
2257
01:51:10,419 --> 01:51:12,838
Just taking that moment there
is really nice.
2258
01:51:12,922 --> 01:51:15,925
GREEN: This is another moment
where it's quiet,
2259
01:51:16,008 --> 01:51:18,469
when a lot of movies wouldn't have...
2260
01:51:18,636 --> 01:51:21,097
You let it be quiet.
You let there be some space.
2261
01:51:21,263 --> 01:51:26,852
That air is so necessary, I think,
for the viewer to be able to feel
2262
01:51:26,936 --> 01:51:29,522
-what she's going through.
-To process everything that's happened.
2263
01:51:29,605 --> 01:51:32,525
-And then he comes and ruins everything.
-Right.
2264
01:51:32,608 --> 01:51:33,818
Yeah, you need that quiet moment to
2265
01:51:33,901 --> 01:51:36,070
-make this really disruptive and miserable...
-(BOONE LAUGHS)
2266
01:51:36,278 --> 01:51:38,447
...so you feel like,
"Oh, God! Why is this guy in my car?"
2267
01:51:38,572 --> 01:51:41,826
BOONE: Yeah. Why is Dafoe here
ruining everything?
2268
01:51:42,702 --> 01:51:43,703
GREEN: Oh.
2269
01:51:44,120 --> 01:51:46,414
BOONE: But then you get to that moment
where he admits he has a daughter.
2270
01:51:46,497 --> 01:51:48,624
That humanizes him so much for me.
2271
01:51:49,375 --> 01:51:52,837
It doesn't make him any less of a disaster.
It doesn't forgive his behavior.
2272
01:51:52,920 --> 01:51:56,006
But at the same time, it gives you
such a deeper understanding of
2273
01:51:56,090 --> 01:51:57,508
how he got to this point.
2274
01:51:57,591 --> 01:52:01,721
GREEN: And he's trying, he's just trying
in this son' of horrible way.
2275
01:52:01,804 --> 01:52:04,056
BOONE: Well, it's 'cause he spent years
being this person that
2276
01:52:04,140 --> 01:52:07,518
I don't think he really understands
how to help people.
2277
01:52:07,643 --> 01:52:09,854
GREEN: Yeah, he's just been so
disconnected from people for so long.
2278
01:52:09,937 --> 01:52:12,440
The only person in his life
is someone he employs.
2279
01:52:12,523 --> 01:52:15,443
BOONE: Exactly. And he treats her badly.
2280
01:52:15,526 --> 01:52:18,529
GREEN: He just doesn't know.
He doesn't know how to do it anymore.
2281
01:52:18,612 --> 01:52:21,157
And that's one of the great tragedies,
I think, when you do disconnect,
2282
01:52:21,240 --> 01:52:24,285
a lot of times it becomes
really difficult to reconnect.
2283
01:52:26,412 --> 01:52:29,999
You see in his face.
It's hard for him to even look at her.
2284
01:52:30,082 --> 01:52:31,917
'Cause I think it's just hard
to communicate with people.
2285
01:52:32,001 --> 01:52:35,129
And I'm sorry for yours.
And sorry for ruining your trip.
2286
01:52:35,880 --> 01:52:37,590
You didn't ruin
our trip.
2287
01:52:37,757 --> 01:52:39,300
-We had an amazing trip.
-(CHUCKLES)
2288
01:52:42,178 --> 01:52:45,973
Are you familiar
with the Trolley Problem?
2289
01:52:46,140 --> 01:52:49,935
There's a thought experiment
in the field of ethics...
2290
01:52:50,102 --> 01:52:51,854
known as the Trolley Problem.
2291
01:52:52,021 --> 01:52:53,939
Philippa Foot was
an English philosopher--
2292
01:52:54,106 --> 01:52:55,399
Oh, my God.
2293
01:52:55,775 --> 01:52:57,902
Hazel, I'm trying to
explain something to you.
2294
01:52:58,068 --> 01:53:00,237
-I'm trying to give you what you wanted.
-No, you're not!
2295
01:53:00,404 --> 01:53:02,031
You are a drunk,
and you're a failure...
2296
01:53:02,198 --> 01:53:03,657
and I need you to
get out of my car right now...
2297
01:53:03,824 --> 01:53:07,328
so that I can go home,
and be by myself and grieve!
2298
01:53:08,662 --> 01:53:10,247
You'll want to read this.
2299
01:53:12,750 --> 01:53:16,086
I don't want to read anything.
Can you just get out of my car?
2300
01:53:21,008 --> 01:53:23,302
-Please get out of my car!
-Fine.
2301
01:53:23,719 --> 01:53:24,720
(CAR DOOR CLOSES)
2302
01:53:27,556 --> 01:53:28,557
(ENGINE STARTS)
2303
01:53:45,491 --> 01:53:47,827
BOONE: This is one of those moments
you worry is going to get cut,
2304
01:53:47,910 --> 01:53:49,411
that the studio is going to ask you to out.
2305
01:53:49,495 --> 01:53:52,998
But it's so critical to give you this breath
2306
01:53:53,082 --> 01:53:56,544
before she has the last,
kind of the epilogue to the film,
2307
01:53:56,627 --> 01:53:59,338
with her dad and Nat
and then with the letter.
2308
01:53:59,421 --> 01:54:01,340
Just having her by herself here.
2309
01:54:01,423 --> 01:54:03,634
And this was just Ben saying,
"Let's just drive and get it."
2310
01:54:03,717 --> 01:54:05,928
-And we got that.
-The song and the light...
2311
01:54:06,011 --> 01:54:08,472
BOONE: The song and the light
and the sun hitting her in the right way,
2312
01:54:10,057 --> 01:54:14,103
everything came together perfectly
2313
01:54:14,186 --> 01:54:16,939
and it's a really nice breath before
you come to the ending of the movie.
2314
01:54:18,357 --> 01:54:21,360
-GREEN: I love that song, by the way.
-It's so beautiful, yeah.
2315
01:54:24,363 --> 01:54:26,323
Love this moment with Sam.
2316
01:54:26,407 --> 01:54:29,535
GREEN: Yeah, this is such
a nice moment with Sam.
2317
01:54:29,618 --> 01:54:32,037
And this was
really important to me because...
2318
01:54:32,121 --> 01:54:35,207
-BOONE: You have a kid. You understand.
-Yeah.
2319
01:54:35,291 --> 01:54:38,669
You're always trying to explain to your kid
the nature of the love, you know.
2320
01:54:38,752 --> 01:54:42,965
And this is a moment where
he can kind of get at that.
2321
01:54:44,550 --> 01:54:47,887
But you can tell he's just so sorry.
2322
01:54:47,970 --> 01:54:50,890
BOONE: Really, in all of the books I've read
and all the movies that I've seen,
2323
01:54:50,973 --> 01:54:52,308
this moment, for me,
2324
01:54:52,391 --> 01:54:54,560
and the moment with New/and Archer
in The Age of Innocence
2325
01:54:54,643 --> 01:54:59,023
where he talks to his child saying,
"| gave up what I wanted the most for you."
2326
01:54:59,106 --> 01:55:00,900
And this, where it's like,
2327
01:55:00,983 --> 01:55:03,819
"That you've loved someone gives you
an idea of how much we love you,"
2328
01:55:03,903 --> 01:55:08,490
is some of the most beautiful
parent moments with children.
2329
01:55:13,162 --> 01:55:14,830
And I believe
in real life they're good parents.
2330
01:55:14,914 --> 01:55:17,333
-I just feel like that translated.
-Yeah, yeah.
2331
01:55:17,416 --> 01:55:20,461
I think it was probably nice for them
to be able to play good parents.
2332
01:55:20,544 --> 01:55:21,587
(BOTH LAUGHING)
2333
01:55:21,670 --> 01:55:23,380
GREEN: A lot of times
in their roles they don't.
2334
01:55:23,464 --> 01:55:28,802
BOONE: Yes. Sam has twins, twin boys,
and Laura has children as well,
2335
01:55:30,846 --> 01:55:33,682
which allowed them to connect deeply.
2336
01:55:33,766 --> 01:55:38,896
GREEN: The only line in the whole movie
that I miss is a line in this scene where
2337
01:55:38,979 --> 01:55:43,484
in an earlier cut, he said,
"Are you angry? I'm angry."
2338
01:55:43,567 --> 01:55:46,028
And she says, "Yeah, I am angry."
2339
01:55:47,029 --> 01:55:48,906
-BOONE: Do you want us to put it back?
-Is it too late?
2340
01:55:48,989 --> 01:55:50,532
The movie comes out in two weeks.
2341
01:55:50,616 --> 01:55:52,284
-BOONE: It's too late.
-It's probably too late.
2342
01:55:52,368 --> 01:55:56,288
Yeah, it was one of those things,
it's for time, some of it,
2343
01:55:56,372 --> 01:55:58,582
you take a little bit out of every scene
2344
01:55:58,666 --> 01:56:00,793
just to make it be honed properly.
2345
01:56:00,876 --> 01:56:03,879
But it really felt like
we needed to get on with it.
2346
01:56:03,963 --> 01:56:05,130
So, I liked it as well.
2347
01:56:05,214 --> 01:56:06,840
I really like the awkward hug.
2348
01:56:06,924 --> 01:56:09,677
GREEN: Yeah, the awkward hug.
It's very Hazel and Isaac.
2349
01:56:09,760 --> 01:56:11,512
BOONE: Yeah, where he's not sure how...
2350
01:56:11,595 --> 01:56:14,431
He knows she needs to be comforted,
but it is Gus' girl.
2351
01:56:14,515 --> 01:56:16,767
GREEN: Right, right.
It's still Gus' girlfriend to him.
2352
01:56:16,934 --> 01:56:18,394
Ew. He's not my friend.
2353
01:56:19,061 --> 01:56:20,062
How do you know about that?
2354
01:56:20,229 --> 01:56:21,647
Well, I was talking
to him at the cemetery...
2355
01:56:21,814 --> 01:56:24,775
and he said he came
all this way to...
2356
01:56:24,858 --> 01:56:27,569
BOONE: This piece of music was
the music I brought to Fox,
2357
01:56:27,653 --> 01:56:29,154
which closes out the movie,
2358
01:56:29,238 --> 01:56:33,409
which I listened to as I drove
to and from the hospital every night
2359
01:56:33,492 --> 01:56:36,161
where I was visiting my friend
who had cancer.
2360
01:56:36,245 --> 01:56:37,955
The M83 album, it had just come out.
2361
01:56:38,038 --> 01:56:41,166
I found this in my car,
and this was how I coped
2362
01:56:41,250 --> 01:56:44,378
when I drove home every night
was to listen to this M83 song.
2363
01:56:44,461 --> 01:56:46,922
So, this is one of those surviving things
2364
01:56:47,006 --> 01:56:49,591
from me just reading the script
and wanting to make the movie
2365
01:56:49,675 --> 01:56:55,055
and really feeling like this song
could encapsulate their relationship
2366
01:56:55,139 --> 01:56:57,266
and kind of how big it was.
2367
01:56:57,349 --> 01:57:00,769
And the key, I guess, was
to find a song that felt big enough that
2368
01:57:00,853 --> 01:57:03,355
it could hold that infinity inside of it.
(LAUGHS)
2369
01:57:03,439 --> 01:57:07,985
So, it always felt like this was it
and this survived through every iteration.
2370
01:57:09,028 --> 01:57:10,487
GREEN: I think Gus' voiceover here
is so good.
2371
01:57:10,571 --> 01:57:11,697
BOONE: So on point.
2372
01:57:11,780 --> 01:57:13,574
Yeah, he did such a beautiful job.
2373
01:57:13,657 --> 01:57:17,327
We recorded it two or three times.
We recorded it once at the house here.
2374
01:57:17,453 --> 01:57:20,539
But it was in the basement
and the entire time it's just so loud.
2375
01:57:20,622 --> 01:57:23,375
People are clomping around above.
2376
01:57:23,459 --> 01:57:25,794
We just honed it each time.
2377
01:57:26,754 --> 01:57:28,714
To be able to go back and have done it
2378
01:57:28,797 --> 01:57:30,883
after the fact that after
he had given the performance,
2379
01:57:30,966 --> 01:57:33,093
he was so much more connected
to who Gus was.
2380
01:57:33,177 --> 01:57:34,178
GREEN: Mm-hmm.
2381
01:57:35,596 --> 01:57:38,849
BOONE". One of my most beautiful shots
in the movie is that shot right there.
2382
01:57:38,932 --> 01:57:41,518
-GREEN: Yeah.
-It's beautiful.
2383
01:57:41,643 --> 01:57:43,604
That is all Ben Richardson.
2384
01:57:43,687 --> 01:57:46,023
He found these amazing lenses.
2385
01:57:46,106 --> 01:57:49,359
We were trying to get
these Barry Lyndon lenses
2386
01:57:49,443 --> 01:57:50,819
that they lit with candles.
2387
01:57:50,903 --> 01:57:55,491
He found this distorted lens
and we did all those moments like that.
2388
01:57:56,992 --> 01:57:58,118
And this one as well.
2389
01:57:58,202 --> 01:58:01,538
This is one of my favorite moments
in the movie
2390
01:58:02,164 --> 01:58:05,209
and in the script when I read it,
was this moment.
2391
01:58:05,292 --> 01:58:07,336
GREEN: And the way he grabs her hand
is really lovely.
2392
01:58:07,419 --> 01:58:10,005
BOONE: And the specificity
of the nail polish.
2393
01:58:10,089 --> 01:58:12,466
It's like specifics
are what make things real.
2394
01:58:12,549 --> 01:58:14,593
And this felt really real to me.
2395
01:58:14,927 --> 01:58:19,014
Yeah. He gave a beautiful,
beautiful performance. They both did.
2396
01:58:20,057 --> 01:58:23,519
GREEN: Yeah, it was such a gift to the story
to have them together,
2397
01:58:23,602 --> 01:58:27,397
and, I think, over the course of the movie,
they just became so close.
2398
01:58:28,023 --> 01:58:29,399
And you really feel that.
2399
01:58:29,483 --> 01:58:31,026
BOONE: So, here's the white dress
in question.
2400
01:58:31,110 --> 01:58:33,487
GREEN: There's the white dress I love.
2401
01:58:33,570 --> 01:58:36,907
BOONE: Mary Claire, I said, "Bold choice,"
and we just ran with it.
2402
01:58:37,032 --> 01:58:40,410
I do still get emotional
when I watch the end.
2403
01:58:40,494 --> 01:58:42,955
Everything just comes together.
2404
01:58:43,497 --> 01:58:47,042
(SOFT ROCK MUSIC PLAYING)
2405
01:58:51,630 --> 01:58:53,715
GUS: You don't get to choose
if you get hurt in this world...
2406
01:58:53,882 --> 01:58:57,052
but you do have a say
in who hurts you.
2407
01:58:57,719 --> 01:58:59,721
And I like my choices.
2408
01:59:00,806 --> 01:59:02,933
I hope she likes hers.
2409
01:59:04,059 --> 01:59:05,811
Okay, Hazel Grace?
2410
01:59:08,272 --> 01:59:09,606
Okay.
2411
01:59:14,862 --> 01:59:17,906
BOONE: You know, it's funny,
we lost this shot.
2412
01:59:17,990 --> 01:59:19,491
In editing, they swore to me
2413
01:59:19,575 --> 01:59:22,661
we didn't have the close-up of her face
at the end when she says, "Okay."
2414
01:59:22,744 --> 01:59:25,122
-GREEN: Oh, wow.
-It was lost in a bin somewhere.
2415
01:59:25,455 --> 01:59:28,375
And I was like, "Okay, I guess we're ending
with this medium shot of her."
2416
01:59:28,458 --> 01:59:31,420
We had punched in as much as we could
and we didn't have the close-up. (LAUGHS)
2417
01:59:31,503 --> 01:59:33,630
And Neustadter saw it and was like,
2418
01:59:33,714 --> 01:59:35,924
"Dude, what about
the close-up at the end?"
2419
01:59:36,008 --> 01:59:38,177
I was like, "| swear we shot it,
but I can't find it,"
2420
01:59:38,260 --> 01:59:41,180
and we went and searched
and found a bin that they were in...
2421
01:59:41,263 --> 01:59:43,056
-GREEN: Thank goodness.
-...on the Avid and we were able to get it.
2422
01:59:43,140 --> 01:59:46,435
Robb was like, "Oh, my God!
We almost lost this shot." (LAUGHING)
2423
01:59:46,518 --> 01:59:48,020
So, let's talk a little about Wyck.
2424
01:59:48,103 --> 01:59:51,273
Wyck and Isaac,
who were the on-set producers,
2425
01:59:51,356 --> 01:59:56,403
and Missy, who handled the money
and really was our mom, in so many ways.
2426
01:59:56,486 --> 02:00:00,657
-Huge, huge assets to this movie.
-No movie without them.
2427
02:00:00,741 --> 02:00:02,034
BOONE: There's no movie without them.
2428
02:00:02,117 --> 02:00:04,453
Isaac found this book.
2429
02:00:04,536 --> 02:00:06,246
He was one of John's champions.
2430
02:00:06,663 --> 02:00:10,834
He and Wyck loved this project for so long,
before I ever came along,
2431
02:00:11,877 --> 02:00:13,962
and had a deep understanding of it.
2432
02:00:17,132 --> 02:00:19,051
-Let's see who pops up here.
-Here's Mary Claire.
2433
02:00:19,134 --> 02:00:21,136
BOONE: Mary Claire, who is wonderful.
2434
02:00:22,638 --> 02:00:24,348
-There you go. Go, Woodley!
-There's Shailene.
2435
02:00:24,431 --> 02:00:27,476
Yeah. I mean,
I do think that producers...
2436
02:00:27,559 --> 02:00:30,437
-I almost didn't understand what they did.
-They guide. They're your guide.
2437
02:00:30,520 --> 02:00:32,898
-GREEN: But, yeah, they... Right.
-If you have a good one.
2438
02:00:32,981 --> 02:00:35,234
GREEN: They shepherd the movie
from the very beginning.
2439
02:00:35,317 --> 02:00:36,902
BOONE: Yeah.
2440
02:00:36,985 --> 02:00:40,614
GREEN: That was so important
to this particular project.
2441
02:00:40,697 --> 02:00:42,157
Because this is not an easy movie to make.
2442
02:00:42,241 --> 02:00:43,951
BOONE: No, it's really difficult.
2443
02:00:44,034 --> 02:00:48,121
GREEN: It's not easy to get it green-lit.
It's not easy to get someone hired to direct.
2444
02:00:48,205 --> 02:00:50,332
-The whole process was challenging.
-Yeah.
2445
02:00:51,750 --> 02:00:55,128
They got this to completion
in the shape that it's in now,
2446
02:00:55,212 --> 02:01:00,634
translated this purely
without it becoming diluted
2447
02:01:00,717 --> 02:01:03,387
is a miracle, a small miracle
in Hollywood, I would say.
2448
02:01:03,470 --> 02:01:05,931
GREEN: It really is. It's very difficult
to do this kind of thing in Hollywood.
2449
02:01:06,014 --> 02:01:08,517
-Ronna Kress did an amazing job.
-She did an amazing job.
2450
02:01:08,600 --> 02:01:10,269
GREEN: I loved this cast.
2451
02:01:10,352 --> 02:01:12,187
-I'm so grateful to her.
-Yeah.
2452
02:01:12,271 --> 02:01:13,480
There's Missy, who we love.
2453
02:01:13,563 --> 02:01:18,110
H, who was my first AD,
is one of the best guys on the planet.
2454
02:01:18,193 --> 02:01:20,612
Kristen, as well, did a wonderful job.
2455
02:01:20,696 --> 02:01:23,949
GREEN: Yeah, Kristen was
so comforting to me.
2456
02:01:24,032 --> 02:01:28,578
Yeah, all the times that I spent with Kristen
was just like getting a hug.
2457
02:01:28,662 --> 02:01:31,581
BOONE: But why H and Kristen,
worked so well for me
2458
02:01:31,665 --> 02:01:35,127
is because I'm pretty laid back
and H was totally laid back,
2459
02:01:35,210 --> 02:01:37,170
you'd never know it was a bad day on set.
(LAUGHS)
2460
02:01:37,254 --> 02:01:40,966
GREEN: No, I never knew when either
of you guys were stressed out actually.
2461
02:01:41,049 --> 02:01:42,301
BOONE: Big shout out to Jake Braver.
2462
02:01:42,384 --> 02:01:45,971
There are more VFX shots in this movie
than in the first Jurassic Park.
2463
02:01:46,054 --> 02:01:47,139
GREEN: Wow! Is that true?
2464
02:01:47,222 --> 02:01:48,849
BOONE: You'll never see them all,
but Jake did them.
2465
02:01:48,932 --> 02:01:50,767
And I really wanna really
point out Katrina Schiller.
2466
02:01:50,851 --> 02:01:54,313
Katrina was the music editor
on 12 Years a Slave.
2467
02:01:54,396 --> 02:01:57,566
Has done a lot of work with Michael Mann.
2468
02:01:57,649 --> 02:01:58,984
What Katrina's job is,
2469
02:01:59,067 --> 02:02:02,446
is to create a temp score
that Nate and Mike use as their guide
2470
02:02:02,529 --> 02:02:04,906
-when they go in to actually do the score.
-Hmm.
2471
02:02:05,449 --> 02:02:11,204
BOONE: So, her finding pieces that felt right
for me, that I was comfortable with,
2472
02:02:11,913 --> 02:02:15,083
she was a huge architect in what
the sound of this movie is
2473
02:02:15,167 --> 02:02:17,919
and what the score ultimately was.
2474
02:02:18,003 --> 02:02:20,505
GREEN: Deb Peterson, who did the...
2475
02:02:20,589 --> 02:02:23,800
Was a very good friend of mine on set
and always very kind to me.
2476
02:02:23,884 --> 02:02:25,302
BOONE: I'd point out Luca as well.
2477
02:02:25,385 --> 02:02:28,013
GREEN: Luca, the script supervisor,
is some kind of genius.
2478
02:02:28,096 --> 02:02:31,183
She worked on
almost every Robert Altman film.
2479
02:02:31,266 --> 02:02:33,560
So, she has worked with
some of the greats.
2480
02:02:33,643 --> 02:02:36,980
She was a wonderful
supportive presence on set.
2481
02:02:37,064 --> 02:02:39,024
She made me very comfortable
2482
02:02:39,107 --> 02:02:41,985
and made me feel like
everything would be okay. (LAUGHS)
2483
02:02:42,069 --> 02:02:44,071
GREEN: Yeah, the grips did a very good job.
2484
02:02:44,154 --> 02:02:46,365
Those were some of my favorite people
to hang out with.
2485
02:02:46,448 --> 02:02:47,991
-BOONE: They were so nice.
-Yeah.
2486
02:02:48,075 --> 02:02:49,743
BOONE: Just everybody
we met in Pittsburgh...
2487
02:02:49,826 --> 02:02:51,244
John Adkins was fantastic.
2488
02:02:51,328 --> 02:02:54,081
-Kate Chase was great.
-John Adkins is an Indiana guy, by the way.
2489
02:02:54,164 --> 02:02:57,667
BOONE: Ah. That's why I like him.
All these guys.
2490
02:02:57,751 --> 02:02:59,336
GREEN: Now I feel bad
for all the people we aren't naming,
2491
02:02:59,419 --> 02:03:01,046
-'cause everyone was great.
-Everybody.
2492
02:03:01,129 --> 02:03:02,756
GREEN: The props manager, Kelly.
2493
02:03:02,839 --> 02:03:04,966
BOONE: Everybody, day to day,
going into work,
2494
02:03:05,050 --> 02:03:08,970
was a, uh, beautiful thing to be a part of.
2495
02:03:09,054 --> 02:03:10,555
They're all wonderful, wonderful people.
2496
02:03:10,639 --> 02:03:12,015
GREEN". Your assistant, Jon Ong.
2497
02:03:12,099 --> 02:03:13,642
-BOONE: Yeah, Jon was fantastic.
-Great guy.
2498
02:03:14,684 --> 02:03:15,977
Really fun to hang out with.
2499
02:03:16,061 --> 02:03:18,397
-BOONE: He took care of me.
-Always had your Starbucks.
2500
02:03:18,480 --> 02:03:20,690
BOONE: Took good care of me.
All I need during the day is my green tea
2501
02:03:20,774 --> 02:03:22,984
and he made sure I had that.
2502
02:03:23,068 --> 02:03:26,029
You need a lot of green tea
to get through a movie. (LAUGHS)
2503
02:03:26,113 --> 02:03:27,906
GREEN: You consume more green tea than...
2504
02:03:27,989 --> 02:03:29,658
BOONE". I'll point out Skip Kimball,
our colorist,
2505
02:03:29,741 --> 02:03:31,660
who did every James Cameron film.
2506
02:03:31,743 --> 02:03:33,286
He's one of the best colorists
in the business,
2507
02:03:33,370 --> 02:03:36,164
and he did a wonderful job on this film
with Ben and I.
2508
02:03:36,498 --> 02:03:37,499
Um...
2509
02:03:38,583 --> 02:03:40,752
So many people.
The catering people were fantastic.
2510
02:03:40,836 --> 02:03:43,046
-Mark was wonderful.
-Mark was amazing.
2511
02:03:43,130 --> 02:03:44,589
BOONE: He took good care of us.
2512
02:03:44,673 --> 02:03:47,717
GREEN: Every day the food was just gold.
2513
02:03:47,801 --> 02:03:50,137
BOONE: The Amsterdam unit's
so wonderful, so friendly.
2514
02:03:50,220 --> 02:03:52,764
We were only with them a couple of days.
2515
02:03:52,848 --> 02:03:56,101
They were as wonderful as the people
in Pittsburgh. We were really lucky.
2516
02:03:56,184 --> 02:03:58,270
GREEN: Yeah, they were
really welcoming to us.
2517
02:03:58,353 --> 02:04:00,939
Again, great food and nice people.
2518
02:04:01,022 --> 02:04:02,065
BOONE: Really nice people.
2519
02:04:02,149 --> 02:04:03,233
I'll point out Phosphene.
2520
02:04:03,316 --> 02:04:06,695
Phosphene did a lot of visual effects work
on this movie with Jake.
2521
02:04:07,279 --> 02:04:10,615
They cut Gus' leg off,
they put the stars in the sky.
2522
02:04:11,533 --> 02:04:15,787
They did a lot of the harder effects shots
and they did a great job.
2523
02:04:15,871 --> 02:04:17,664
GREEN: Congratulations, by the way,
for listing
2524
02:04:17,747 --> 02:04:19,833
Christ ls Our Friend,
written by Mike Birbiglia,
2525
02:04:19,916 --> 02:04:21,293
as one of the songs in the movie.
2526
02:04:21,376 --> 02:04:23,628
BOONE: Felt like he needed it.
That's Bill Ricchini,
2527
02:04:23,712 --> 02:04:26,089
also a buddy of mine,
who had a song in the first movie.
2528
02:04:26,173 --> 02:04:29,009
Jake Bugg, who we love.
Alex Wolff, who is Nat's brother.
2529
02:04:29,092 --> 02:04:30,802
That's the song Nat's singing...
2530
02:04:30,886 --> 02:04:31,887
(BOTH LAUGHING)
2531
02:04:31,970 --> 02:04:33,805
...when he's having
his emotional breakdown.
2532
02:04:33,889 --> 02:04:36,016
-It's actually a song his brother wrote.
-(LAUGHING)
2533
02:04:37,350 --> 02:04:40,687
Yeah, all these songs are wonderful.
We were really lucky. All these people.
2534
02:04:40,770 --> 02:04:43,064
Birdy for writing so many songs for us.
2535
02:04:43,148 --> 02:04:45,734
She wrote some songs with Dan Wilson
from Semisonic.
2536
02:04:47,235 --> 02:04:49,321
Lykke Li, who is wonderful.
2537
02:04:49,404 --> 02:04:51,865
We were really lucky.
We had wonderful music.
2538
02:04:53,450 --> 02:04:57,162
Point out again here all these medical
professionals in Pittsburgh
2539
02:04:57,245 --> 02:04:58,538
who opened their doors to us
2540
02:04:58,622 --> 02:05:02,083
and gave us access
to their patients and their facilities
2541
02:05:04,211 --> 02:05:06,046
just to have the realism in the movie.
2542
02:05:06,129 --> 02:05:08,006
It just was absolutely necessary.
2543
02:05:08,089 --> 02:05:10,717
John, do you want to say anything
as a wrap-up here
2544
02:05:10,800 --> 02:05:12,594
as we're getting to
the tail end of the crawl?
2545
02:05:12,677 --> 02:05:14,054
Do you have any final words?
2546
02:05:14,137 --> 02:05:18,850
GREEN: The only person I think we haven't
thanked and honored is Josh Boone, who...
2547
02:05:18,934 --> 02:05:20,936
-(BOONE LAUGHS)
-.. . I'm just gonna say it,
2548
02:05:21,686 --> 02:05:25,607
just made such a great movie
and it felt like such a gift to me,
2549
02:05:25,690 --> 02:05:28,193
and I'm grateful to him every day.
2550
02:05:28,276 --> 02:05:30,862
BOONE: I was only as good as
the people I was surrounded by,
2551
02:05:30,946 --> 02:05:33,240
and they were the best of the best.