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The first thing we noticed was how flamboyant [Dalton] Trumbo was in real life.

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
Dalton
Flamboyant
Noticed
Firsts
First
Real
Thing
Life

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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'm pretty opinionated sometimes although my political views change all the time, too. So I'm not very zealous.
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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 was very interested in politics in college and was heading to be a lawyer. I have a degree in economics and I was interested in it. I hadn't really gotten super serious about it and I'd done a lot of student politics in high school. I really think it would be interesting and fun and challenging to go into politics.
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When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.
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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.
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I just always look for stuff that has a character-driven thing.
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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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For Bryan [Cranston ] to go back in time and become this larger-than-life and somewhat theatrical guy, who performed his ideas and rhetoric in public in a melodic and flashy way, was a bit of a risk.
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Hedda Hopper was a better direct opponent to [Dalton] Trumbo. We wanted to use Trumbo's battles to represent the larger battles, so the audience could understand the personal sacrifice he went through and the personal damage to his family. The choices were about who were the best representations of his antagonists, which is why we chose as we did.
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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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You can make an idea spread for good but you can also make an idea spread for bad and the power to make an idea spread, memetics, you know which now people talk about memes.
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One of the series of decisions that the great screenwriter John McNamara made was about who to depict. [Ronald] Reagan had a role in HUAC, he was a friendly witness, but never went over-the-top about it.
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Bryan [Cranston] created something completely unique, that was earned by its authenticity. That's what gave us the license to push it a bit.
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Even modern wars are fought like revenge tales from some petty grievance.
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Sometimes perfecting the one thing can be the enemy of getting any traction on anything else.
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When we did the first sequel [of the Austin Powers] , it was on coattails of the first one doing so well when it was released on video, so we really didn't know what to do with the second plot.
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Dalton Trumbo was constantly criticizing the membership [in the Communist Party], and was opposite to being a loyalist.
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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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From our perspective now, there is a not a huge understanding about the totalitarian Communism that Soviet Russia practiced during the 1950s - it was an atrocious system.
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