what we strove to do when any filmmaker
should strive to do when they’re doing a
period piece is to be authentic and to
be absolutely real roll heads okay
stagecoach rolling the crown we took
great pains and being historically
accurate we had two different teams and
National Geographic who are at my
disposal making sure that I got
everything right you know there’s a
certain amount of artistic license that
writers take we came up with a story
that is engaging and at the same time is
flawless in terms of its research so a
couple of months after the assassination
attempt all the doctors and all the
nurses that were involved in save you on
Elena’s life they put together their own
little mini documentary they reenacted
everything exactly as it happened and so
this became extraordinarily valuable to
us mr. president today we’re all I think
the thing that we’ve been blessed with
on all of our killing productions is for
most writers who are incredibly facile
with the material and deeply familiar
with it and so that they can again take
something that we already have some
basic walking knowledge of and transcend
that we’re exposed to those things we
recognize and yet we get a different
perspective on them I don’t think we
even realized when we cast Timothy
how truly lucky we were to have two
people who were equally committed deeply
researched these roles and who have such
an alluring and sort of complex
relationships that were able to build on
swimming together Eric Simonson both his
theatrical background as a writer and as
a director I think was able to bring to
this sort of a dynamic that gave us an
immediacy in terms of our experience of
this period in history and then with rod
lorry who is a director at the top of
his form but one who thrives in this
political forum and between the two of
them there was such a deep foundation of
understanding and determination to tell
the story as authentically as fully and
as dramatically as possible and that to
me is also what defines doing a piece
like this for National Geographic
you
should strive to do when they’re doing a
period piece is to be authentic and to
be absolutely real roll heads okay
stagecoach rolling the crown we took
great pains and being historically
accurate we had two different teams and
National Geographic who are at my
disposal making sure that I got
everything right you know there’s a
certain amount of artistic license that
writers take we came up with a story
that is engaging and at the same time is
flawless in terms of its research so a
couple of months after the assassination
attempt all the doctors and all the
nurses that were involved in save you on
Elena’s life they put together their own
little mini documentary they reenacted
everything exactly as it happened and so
this became extraordinarily valuable to
us mr. president today we’re all I think
the thing that we’ve been blessed with
on all of our killing productions is for
most writers who are incredibly facile
with the material and deeply familiar
with it and so that they can again take
something that we already have some
basic walking knowledge of and transcend
that we’re exposed to those things we
recognize and yet we get a different
perspective on them I don’t think we
even realized when we cast Timothy
how truly lucky we were to have two
people who were equally committed deeply
researched these roles and who have such
an alluring and sort of complex
relationships that were able to build on
swimming together Eric Simonson both his
theatrical background as a writer and as
a director I think was able to bring to
this sort of a dynamic that gave us an
immediacy in terms of our experience of
this period in history and then with rod
lorry who is a director at the top of
his form but one who thrives in this
political forum and between the two of
them there was such a deep foundation of
understanding and determination to tell
the story as authentically as fully and
as dramatically as possible and that to
me is also what defines doing a piece
like this for National Geographic
you
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