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On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.

Jay Roach

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Jay Roach
Age: 67
Born: 1957
Born: June 14
Cinematographer
Film Director
Film Producer
Screenwriter
Albuquerque
New Mexico
Mathew Jay Roach
Talk
Productions
Editor
Hope
Combination
Collecting
Made
Details
Polls
Something
Decisions
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Editors
Worth
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Dalton Trumbo actually was [ a hypocrite], because he liked his wealth, which was against the grain of being a Communist. I put title cards at the head of the film that explains the context.
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Even modern wars are fought like revenge tales from some petty grievance.
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There's people who actually have a whole science devoted to what makes a sticky meme and that idea of that question of why some ideas about how civilizations work catch on and others don't.
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That's why we had Louis C.K. portray the harder line Communist, to accuse [Dalton] Trumbo of being a hypocrite.
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I learn so much from watching films like that with commentary and then when you get to hear another filmmaker talk about their films it's a really great experience.
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It was an interesting process trying to get Bob to talk about the film because he's such a shy person. He generally likes to talk when he really knows he has something to say.
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You could get in rehearsals, pre-production, anything that would actually contribute to the understanding of how a film gets made. I actually find those things increase people's interest in a movie and like that better than worrying about showing the tricks behind the curtain.
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When something so unjust as the black list happened, [Dalton Trumbo] would come to life in a certain way.
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I'm developing some other things in other genres, including one dramatic piece. So, anything's possible.
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But I always reassure them that as far as my contractual rights can go, I will protect them and make sure that they have approval over every bit of it so that they know I won't show something that's embarrassing.
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There were two writer's unions in those days[ during World War II ] , the studio-friendly guild called the Screen Playwrights, and the more activist Writer's Guild. The studios were fairly upset that their group wasn't effective, and they sought to punish the other union by labeling them as Communists.
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We had to do the same thing here. To top that sequel was quite a task. Mike had a couple of good conceptual humour and character ideas, which got me back into it.
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I think we'll all keep pushing each other, which is a great thing.
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I hope I can now use my ability to communicate, without being too precious or serious. It's good to have some levity, even as you're facing some really dark times, to mix it up a bit.
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I like to shoot a lot of choices. I like a lot of stuff - and so I push to go faster, to shrink the time between the takes so that the takes are what you're spending all your time on.
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I just always look for stuff that has a character-driven thing.
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Sometimes I would like the opportunity to do character-driven comedy and that's really what I was trying to do in Meet The Parents. I think in a way this is a more old fashioned type of comedy.
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It was about the compelling need to make countries get along to prevent war, in contrast with the totally petty and selfish bullshit that drives the individuals who are supposedly in charge of these countries. It's hard to believe that these self-centered people have nuclear weapons that they can fire at any moment.
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I do understand the free market, having my economics degree, and if someone on the right had some good ideas, I'm not so dogmatic that I wouldn't listen to them.
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I really enjoy the consolation when I'm having to cut loose stuff I love, of saying 'Well, at least it will make it onto DVD.' There's a couple of scenes which I liked very much, but couldn't fit them into the film that are on there.
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