Eric Roth tells THR on the red carpet about collaborating with Martin Scorsese for 'Killers of the Flower Moon' at the 2024 Golden Globes.
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00:00 What does it mean to be nominated for a Golden Globe for Killers of the Flower Moon?
00:04 Well, you know, it's always, you always say it's an honor to be nominated, but I'm really particularly pleased with this one because I think it earns it.
00:13 I'm not saying my work necessarily does, but the movie does. Marty really realized his vision and I was there to help, you know, and so I think this has an important movie.
00:25 What do you love most about collaborating with Martin?
00:29 Collaborating with Marty? He affords you to use your imagination. He inspires you, you know, and encourages you.
00:39 It never induces any anxiety, so it's just a great environment that he creates and he has a vision and you want to try to help meet that vision. Yeah, it's very special.
00:52 I found the ending of the film so interesting to sort of tell the rest of the story through a radio show in that way. Why did you guys make that choice?
01:01 We thought it would be a really interesting way to tell the history and also to say that this is a history being told by other people and that everything is kind of told by the media in a way.
01:11 Maybe one should look a little closer at the true stories, you know, so that was part of the idea. Yeah, it was a smart way to do things, you know. Yeah, thank you.
01:23 Of course, and the performances in this movie have just received so much acclaim, especially Lily Gladstone. Why do you think she was the perfect person to play Molly?
01:31 I think she inhabited that person. We did the best we could to know how that woman was really like, the real Molly, and she seemed, from all our research, very quiet, didn't waste words.
01:47 Tom Rothman, I'm talking about Lily Gladstone. Talking about our greatest living screenwriter.
02:01 Oh, that's so nice. Thank you. That's nice. That is nice. I don't know how much longer I'm going to live, though.
02:09 The thing is, Lily, that's, you know, this sort of passive persona, but more about just being quiet. And really, she talked about it, the birds talk, you know, and that people don't have to necessarily talk.
02:25 So much of her story, I feel like, was really told through the emotion we saw in her face, and even with limited dialogue, but I feel like she...
02:31 It wasn't supposed to be histrionic in any way, and it reflected as best we could tell the real person, you know.
02:38 Definitely. And you also were a part of our screenwriters' roundtable. What was it like getting to sit down for that conversation?
02:44 I've done that a number of times, and it's always... It's a joy, you know, when you get to meet the other writers and writer-directors, and you have some unspoken understanding of things together, you know.
02:57 So, yeah, it was lovely. It was lovely. It's a nice thing to do.
03:00 And for you, as a legendary screenwriter, what's another movie you saw this year that you loved?
03:05 I liked Poor Things very much, Oppenheimer. I would say... I think Poor Things would be one of my other favorites. Yeah, I thought it was unique.
03:19 Oh, I liked recently Society of the Snow. I thought it was kind of poetic. I was afraid of it a little, but yeah, it's quite beautiful. Yeah.
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