PLAYBOOKAWARDS SEASON
201990
WILSON: TIM P. WHITBY/GETTY IMAGES. COOPER: ROY ROCHLIN/FILMMAGIC. PASCAL: JON KOPALOFF/FILMMAGIC. MCINTOSH: JEFF SPICER/GETTY IMAGES. BEAR-MCCLARD: TOMMASO BODDI/WIREIMAGE. JORDAN: JOHN PHILLIPS/GETTY IMAGES FOR BFI.MERCEY: JAKE GILESNETTER/WARNER BROS.WOMEN: WILSON WEBB/COLUMBIA PICTRUES. SIN AE: COURTESY OFSUBJECT.HOLLYWOOD: ANDREW COOPER/SONY.PARASITE: COURTESY OF NEON.GEMS:COURTESY OF TIFF.US: CLAUDETTE BARIUS/UNIVERSAL.WAVES: COURTESY OF A24.I never thought there would
be something [director]
Bong [Joon Ho] can’t do, but I
was very curious about how the second half
of this movie ends. Since the spring of 2015,
when Bong wrote such a detailed story for
the first half and a rough treatment for the
second, there were three to four versions for
the second half, until the summer of 2017.KWAK SIN AE
PARASITEWhen [director] Greta
[Gerwig]came to us, it was
before she’d made Lady Bird,
and she said, “I have to make this movie,
and I know that you don’t know that I can,
but I can. And this movie is about money.
This movie is about how without money,
there is no economic freedom.” So many
people think of this book as a cozy, senti-
mental novel, but it’s telling you something
very important about the state of women.
I’d never heard anyone talk about this book
that way. I don’t know if that made it harder
to do, but it made it urgent to get it done.
And then, when I broke my ankle, I was laid
up in bed, and I was walkie-talkie-ing with
Greta on the iPhone as she was shooting.
That was hard. We were talking on the
phone so much that we both had to put
them away. Not being there in the begin-
ning and then being there in a wheelchair
was a challenge. But you know what? It’s
all sweet. — R.F.AMY PASCAL
LITTLE WOMENGetting Hollywood Boulevard for
the time we needed during the
height of tourist season was something we
were really nervous about. Rick Schuler is a
great location manager, but how we finally
ended up getting it was because [director]
Quentin [Tarantino] came to talk to the
Hollywood Closure Committee about why he
really needed this. He showed his passion.
They were actually running late, so Quentin
hid in a broom closet so that he could be a
surprise. It all paid off, and we got Hollywood
Boulevard. — PAMELA MCCLINTOCKSHANNON MCINTOSH
ONCE UPON A TIME
IN HOLLYWOODThe thing we were
most concerned
about on this filmwas doing justice to [attorney]
Bryan [Stevenson] and his story.
It wasn’t that we thought it was
impossible, but it was on our
minds in every scene and every
moment of the journey. There’s
a Hollywood version of this
film, and there’s a real version
of this film. Every decision we
made along the way was to serve
the aspiration of being the
latter. —TARA BITRAN
MICHAEL B. JORDAN
JUST MERCY