She and her family had seen "The September Issue" and she had also watched "Nashville." So we met and really clicked. I received a phone call that she wanted to meet me. Was that just luck?Ī: That was such a gift. Q: You captured Eilish at such a pivotal moment in her career, between her 17th and 18th birthday. For "Murf," we wanted the beginning to feel like "To Catch a Thief" but it gets darker and darker until you feel like you're watching "Texas Chainsaw Massacre."
For Billie, it's pure cinema verite with no other voices than Billie and her family. For "Belushi," it was told almost exclusively through the voices of the people who knew him best. I'm always looking for the form that will illuminate the character. Sometimes I wish there was a formula, so I could just apply it and get some rest. That approach leads to some sleepless nights. The greatest compliment you can get is that when the lights come on, the audience feels like they are in a different narrative and a different world every time. My training is in theater, where your service is to the work. How do you decide what style to adapt?Ī: I'm grateful you're saying that. Q: I can watch a filmmaker like Ken Burns and know instantly that it's one of his films.
Why are we attracted to certain people who we suspect aren't telling the truth, but somehow we don't care? It may remind you of a certain recent president of the United States. Murphy takes us back to a day when we celebrated criminals to the point that they almost felt emboldened to commit crimes. Q: What does Murphy have in common with the other people you have focused on?Ī: I'm often exploring issues of American identity through larger-than-life characters, whether it's a ragtag team leading an underdog to victory like in "The War Room" or "The September Issue" with an extraordinary woman who has risen to the top of a multi-million dollar industry where the only woman who isn't afraid of her is in the office next door. After chatting with Cutler by Zoom, the choices make a lot more sense.
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