A24 magazine issu

Issue 01 — November 2017

Yorgos Lanthimos - The Killing of a Sacred Deer.

The Future of the Film Industry.

Moonlight’s remarkable achievment and best picture win Josh and Benny Safdie - Good Time

A24 Magazine - Issue 01

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Cover Image: Free Fire

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A24 Magazine - Issue 01

Letter from the editor

Nick Rissmeyer

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Thanks for picking up the first issue of A24 magazine. A24 is a monstrous powerhouse of creation, helping to facilitate and showcase the work of talented film makers with incredible, important stories to tell. A24 magazine is a direct link to the films and is focused on showcasing up and coming A24 productions with interviews, articles and a multitude of focus features. The hope is that this magazine and this issue clearly connect to the brand and demonstrate the same level of creative freedom and quirky independent DIY style that the company exudes.

I wanted the magazine to be dark and image focused with little uses of vibrant color. The almost neon yellow and pink colors felt very on brand and contrast the images very well. This issue includes interview with directors Yorgos Lanthimos, Greta Gerwig and the Safdie brothers about their respective films, The Killing of a Sacred Deer, Lady Bird, and Good Time. This release contains two articles, one about A24 as a company

and as an introduction piece to readers about the company behind the movies and the magazine, and an article about the ground breaking film Moonlight and it’s best picture win. These articles and interviews allow a peak into the minds of the creative and talented individuals behind the films A24 puts out. Also included is a feature on the posters of A24. Flip through and see the incredible posters that serve as the entry point for the viewer. We hope this magazine inspires you to discover more A24 films, more independent films, to watch more films in general and be inspired by great story telling and characters.

It Comes At Night (2016)

Editors Note

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A24 Magazine - Issue 01

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2 — 3 Letter from the Editor.

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6 — 11 The Future of the Film Industry.

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12 — 15 Gerta Gerwig, director of Lady Bird.

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16 — 19 Yorgos Lanthimos, director of The Killing of a Sacred deer.

Table of Contents

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20 — 25 Moonlight - Alissa Wilkinson.

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26 — 29 The Safdie brothers, directors of Good Time.

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30 — 33 Brooklynn Prince, star of The Florida Project.

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34 — 45 The posters of A24.

A24 Magazine - Issue 01

The future of the film industry

Written by: Eric McInnis

Scarlett Johansson - Under the Skin

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The Future of the Film Industry - Eric McInnis

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A24 Magazine - Issue 01

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(Bottom Left) The Killing of a Sacred Deer, (Center) Green Room, (Bottom Right) Free Fire, (Top Left) The Witch, (Center) The Lobster, (Top Right) Spring Breakers

Beginning in 2013, A24 managed to become an overnight success after the release of their third film, “Spring Breakers.” Due to the film’s controversial decision to cast Disney Channel alumni like Selena Gomez and Vanessa Hudgens in a film about drugs, violence and sex, the movie made instant headlines and turned many heads. But A24 had more than one trick up its sleeve, and, over the next four years, would release film after film. The group went on to produce “The Bling Ring,” “The Spectacular Now,” “Ex Machina,” “Room,” “The Witch” and their most famous film “Moonlight,” known for winning Best Picture. Since then, A24 has been on a roll, with their most recent release, “Good Time,” a crime drama starring Robert Pattinson, garnering critical praise and drawing a solid opening weekend at the box office, and a slew of trailers for upcoming features that are sure to please, like Willem Dafoe’s “The Florida Project,” Colin Farrell and Nicole Kidman’s “The Killing of a Sacred Deer”

and most famously “The Disaster Artist,” a film about the making of “The Room,” considered to be one of the worst films ever made. It seems strange to single out a movie studio just for releasing movies, especially when they don’t make blockbuster features. But what makes A24 stand out from the crowd is how they not only develop and release unique independent features, but also independent features skewing toward the new generation of film fans.

media, A24’s marketing team has used multiple online platforms to sell their movies and help make them mini-events.

When “Ex Machina” was planned to premiere at the 2015 SXSW Festival, Tinder users encountered an attractive woman named Ava while on the app. After a few quick questions, Ava would then ask the user to check her Instagram, a page that only had one item—a trailer for “Ex Machina,” a sci-film distributed by A24 that coincidentally was premiering at the festival. It not only was a clever way to build word of mouth, but also tied into the film’s main theme of artificial intelligence understanding human emotions.

As a result, “Ex Machina” was a smash hit at SXSW and later grossed $35 million at the worldwide box office, becoming a sleeper hit.

But, even if their marketing is distinct, Considering that young adults are often their one-of-a-kind advertising can’t getting their entertainment and inforhappen without unique features, and mation through the internet and social it is their love for creativity that real-

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Oscar Issac & Christopher Abbott - A Most Violent Year

A24 Magazine - Issue 01

ly makes the company’s brand shine.

Daniel Katz, one of the founders of the company, admitted in a 2013 interview, “When we started, we wanted it to be about the films and filmmakers, not us,” emphasizing how they were against executive meddling or taking creative control from their directors. They encourage 12 creativity and unique voices, to the point where they give a chance to the people just starting out rather than established names. Most studios often release films from established directors like Martin Scorsese or Woody Allen, making it harder for newcomers to break into the industry. But for A24, it’s a different story. Barry Jenkins only directed one other film before A24 helped produce “Moonlight” for him, knowing his film would be something special.

tackles anxiety and isolation by way of a surreal comedy featuring a talking corpse; “Moonlight,” which tackles multiple issues regarding masculinity, homosexuality and race, and even the upcoming “The Disaster Artist,” which tackles the idea of creating your passion project, even if it doesn’t necessarily go in the way you expected, all align with the ethos of the production company. With how increasingly diverse society has become, particularly within younger generations, it seems silly not to fund projects telling one-of-a-kind stories.

As time goes by, A24 has become the perfect antithesis to the modern film industry. At a time when every studio is pushing for cinematic universes and immeasurably high budgets to put audiences in seats, this four-year-old comInstead of just relying on names every- pany has made films exciting and indione knows, A24 helps tell unique stories vidualistic, giving artistic human tales to from unique filmmakers the majority of the masses, and advertising them not to people have never heard of before. And the old generations, but to the new ones. it is through these stories A24 has suc- And thankfully, it has paid off, showing ceeded in creating an exciting brand the world the young still have a yearning that excites the new generation in the for wonderful works of art, particularly ones that don’t have hundreds of milworld of independent features.

Stories like “American Honey,” which lions of dollars in their budgets. tackles the issues of poverty and how those who suffer from it slip through society’s cracks; “Swiss Army Man,” which

The Future of the Film Industry - Eric McInnis

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“When we started we wanted it to be about the films and the filmmakers, not us.�

Daniel Katz - Founder

A24 Magazine - Issue 01

Shannon Vestal Robson interviews Lady Bird Director: Greta Gerwig.

Saoirse Ronan & Lucas Hedges(right) Laurie Metcalf(top) - Lady Bird

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Greta Gerwig - Lady Bird

“...something I like about films is that they are finite. We only get these people for this amount of time...”

CAN YOU TALK ABOUT THE CASTING OF SAIORSE RONAN?

Gerwig: I’ve always loved Saoirse as an actor, but I never had her in mind as I was writing, because I try to get the character right on the page. And also, she’s Irish, so I didn’t even think she’d want to do it or have a relationship to this movie, but then she read the script and she really loved it and had this deep connection to the story, and she really wanted to do it.

WHY DID YOU PICK 2003 AS THE YEAR TO SET THE MOVIE IN?

Gerwig: 2002, 2003 was a little after I was in high school. I wanted to pick those years because I wanted it to be in a post-9/11 world, and I wanted it to be when were getting into the war in Iraq.

It was 18 months after 9/11, and it felt like all these giant global events were happening. It was sort of a televised war, but not the way Vietnam had been, but

Greta Gerwig

[there were] these sort of reports on the shock and awe. I feel like in movies, everything is kept separate: personal lives over here and global events over there, and the truth is, it all goes together. You live through the moment you live through.

And also I wanted it in the moment before the internet took over everything.

It was coming, but it wasn’t quite there er [played by Laurie Metcalf] and this yet. You could still not have a cell phone. daughter, and I think so often in movThere was no Facebook. There was no ies you’ll have mothers as either being Instagram, there was no Snapchat, and portrayed as monsters or angels, and I think so much of how teenagers live that’s just not the truth. They’re humans; their lives now is that way, and I just don’t they’re just people. They make mistakes think it’s that cinematic. So selfishly I just and they also do well sometimes, just as didn’t want to shoot it. kids can be total brats and can be incredibly generous and insightful at times.

ONE OF THE MORE RELATABLE And they’re both. For me, that relationTHEMES IS THE HOT AND COLD ship between a mother and daughter, in MOTHER/DAUGHTER RELATIONSHIP particularly the teenage years, it’s almost AND HOW THE RELATIONSHIP IS like something chemical happens where DURING YOUR TEEN YEARS. you just fight in this way. You’re so similar, and you’re being pulled apart, and Gerwig: For me, that’s the core love stoI think that makes it more complicated. ry of the movie. It’s between this moth-

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Detail from poster - Lady Bird

A24 Magazine - Issue 01

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mother’s coming from, and I know where that daughter’s coming from. They go at each other so hard, but it’s because they’re two sides of the same coin.

LADY BIRD WOULD BE 33 NOW; WHAT WOULD YOU ENVISION FOR HER LIFE NOW?

Because they know that they’re losing you. So there’s this intensity to it that’s unlike anything else.

THE ONE THING I FELT THAT WAS A LITTLE HARSH WERE MARION’S COMMENTS ABOUT HOW FAR HER DAUGHTER COULD GO IN LIFE. DID YOU WORRY YOU’D MAKE MARION A LITTLE TOO NEGATIVE?

Gerwig: No — I don’t pull any punches with either of them. Lady Bird’s a bit of a d*ck at times, and I wanted her to have an equal sparring partner. My goal the whole time was: I know where that

Gerwig: I don’t really do that with characters; something I like about films is that they are finite. We only get these people for this amount of time, because that’s the story I need to tell. The movie ends on her taking in a breath and then it cuts to black, because to me when she breathes out, that’s a new story. And it’s a story I’m not going to tell.

Ronan - Lady Bird

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A24 Magazine - Issue 01

Fabien Lemercier interviews The Killing of a Sacred Deer Director: Yorgos Lanthimos.

Colin Farrell - TKOASD

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Farrell,Kidman & Keoghan - TKOASD

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WHAT IS YOUR RELATIONSHIP WITH

writing the screenplay, trying not to think SYMBOLISM? about anything else other than the story, because I have to feel confident that we I try to stay away from symbols too much. have a script that works and that we’re I wanted everything to be obvious and ready to start making it into a film. Afthe film to be quite direct. With the more ter that, we come up with the ideas of unusual aspects, I try not to be analyti- where it could be set; the films we’ve cal about how we approach things. We made so far tell stories that could take always start with a story and a script – if place anywhere, which is quite freeing, not, the viewers would get lost – but I as we can choose the place where the try to work in a physical, fun way, which film will unfold. Then, for the casting doesn’t necessarily seem related direct- process, I’m very lucky because very tally to what the actual situation is, so that ented actors and actresses are aware of we don’t ever really know the meaning my work and want to jump in and film of what we’re watching. But with Efthi- with me. On the other hand, the casting mis Filippou, I spend a lot of time on process for the younger ones was re-

ally long this time around, and we saw many kids from the USA, the UK and Australia. I don’t try to make the actors into something that I had imagined, but rather try and get as much as I can from them, as it enriches what we’ve written and it’s something that we could never have imagined beforehand. Then, when you’re rehearsing and filming, so many unexpected elements come into the film, and I try to welcome them. Because the place, the atmosphere, the situation, the weather… I try not to control those things too much.

Detail from poster - TKOASD

A24 Magazine - Issue 01

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WHERE DID THE IDEA FOR THE

much seriousness. Nicole likes to say FILM’S TITLE, THE KILLING OF A SA- that I kept on telling her during shooting CRED DEER, COME FROM, AND WHAT that it was a comedy, and I believed that, IS YOUR CONCEPT OF SACRIFICE? and we had as much fun as we could on set. What I wanted to explore essenLanthimos: When we started writing tially were the subjects of justice, choice, the script and thinking about the story, human nature and behavior. The starting we discovered there were some paral- point was mainly just a family, and it allels with the tragedy Iphigenia in Aulis by most came about by chance that chilEuripides, and I thought it would be in- dren play a key part in it. teresting to have a dialogue with something that is so ingrained in Western cul- WHAT WERE YOUR INTENTIONS IN ture. In life, there are people who come TERMS OF DEVELOPING THE MISEup against huge dilemmas, and the EN-SCÈNE? concept of sacrifice raises a significant number of questions about everything.

We used a lot of tracking shots. We always try to find which is the right way to THE FILM EXPLORES A BRUTAL SUB- film a script. With this film, I wanted to JECT, AND YOU WORKED WITH SOME give the impression of a sense of “someFAIRLY YOUNG ACTORS. HOW DID thing other” being there. So the camera YOU GO ABOUT THAT? became a little bit more mobile, followed people around, crept in and observed It’s true that the material is brutal if you from above. Through that, we tried to take it as a whole, but not in its constitu- give the impression of an invisible present parts. We never dealt with it with too ence.

WHAT ABOUT THE STRANGE ILLNESS THAT THE DOCTORS CAN’T DIAGNOSE?

I guess that’s the whole point of the film.

You don’t really ever find out, but I don’t know either – that’s how we constructed the film. These are questions that you take with you.

WILL YOU GO BACK TO GREECE TO SHOOT A FILM IN THE FUTURE?

Yes, why not? I’ve filmed in seven countries, and each time has been different.

I used to be quite negative about going back to Greece and making another film there, but in hindsight, I’ve realized that it gave me a certain kind of freedom.

Nicole Kidman - TKOASD

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“The concept of sacrifice raises a significant number of questions about everything.”

A24 Magazine - Issue 01

“Moonlight is a remarkable achievement in filmmaking.�

Written by: Alissa Wilkinson

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Alex R. Hibbert - Moonlight

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Ashton Sanders - Moonlight

A24 Magazine - Issue 01

Moonlight is the little movie that could, and the fact that it made it to the Oscars at all is a shock. That it won Best Picture is practically a miracle.

(Bottom Left to Right) Alex Hibbert, Mahershala Ali, Ashton Sanders & Janelle Monáe

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But though the film — which currently has a 99 rating on Metacritic — was adored by critics, topping most year-end lists (including mine), it wasn’t selling out theaters or breaking box office reMoonlight doesn’t star any household cords like Hidden Figures (which conames — though that may change soon, starred two of Moonlight’s stars, Maherespecially with Mahershala Ali’s Best shala Ali and Janelle Monáe). And while Supporting Actor win. Its director, Bar- a movie about a poor, gay black young ry Jenkins, has only directed one other man in the housing projects might have feature film, Medicine for Melancholy, been beloved by critics, it’s not the type which had a staggeringly low budget of of Oscar material traditionally selected $15,000.

by Hollywood’s elite — especially when its biggest competition was a movie muMoonlight’s budget was $1.6 million, sical about Hollywood, historically one of which is very low by most standards. (By the Oscars’ favorite subjects. contrast, fellow Best Picture nominees La La Land shot for $30 million, Hack- But really, the big hindrance to Moonsaw Ridge for $40 million, Arrival for light’s wider success was that it’s a small, $47 million, and Hell or High Water for arty film about a black boy growing up in $12 million.) And while its $22 million the housing projects outside Miami, with gross is terrific for such a low budget, it’s a mother who is an addict and a surrostill the lowest-grossing of the Best Pic- gate father who deals drugs, as he deals ture nominees. with bullies and discovers his homosexuality.

All of that formed into a film that feels more like a symphony or a poem than a mere movie. It’s mysterious and open-ended and beautifully shot, and in following Hou’s lead, Jenkins created something mysterious, open-ended, and beautifully shot in its own unique way.

Jenkins worked closely with award-winning playwright Tarell Alvin McCraney, who wrote a sketch of a play, In Moonlight Black Boys Look Blue, while in drama school. The play was deeply personal to him — and, as it turned out, to Jenkins, too. (Both Jenkins and McCraney grew up the Liberty City neighborhood of Miami, the same place as their characters. Both of their mothers were addicts and HIV-positive, like Chiron’s mother.

Jenkins is straight; McCraney is gay.)

The play wasn’t published or produced, but Jenkins ran across it and thought it would make a fantastic film. The pair shared the Oscar for Best Adapted Screenplay.

Alissa Wilkinson - Moonlight

But it’s the acting that makes a screenplay come alive, and the manner in which the film was shot is really where Jenkins’s skill as a director becomes apparent. The three-act structure, each act titled for what the main character (whose given name is Chiron) is called when the act takes place, presented some challenges for the film. Chief among them is the fact that the character is at three vastly different ages in each of the three acts: first a little boy, then a gangly teenager, and finally, a full-grown man.

The three actors never met during Moonlight’s production, which is almost impossible to believe — the three couldn’t be mimicking one another’s performances, but their portrayals of Chiron seem drawn along a single continuum.

Rhodes in particular completely inhabits the character — all three layers are there: world-hardened adult, frustrated teenager, and tiny, vulnerable boy.

and to see how powerfully his life is affected by the people closest to him, is to feel his life along with him. If empathy is the ability to understand and share the feelings of another, then Moonlight is an exercise in generating empathy, embodied. It’s a masterpiece — and its Best Picture win is the very best sort of shock.

Trevante Rhodes - Moonlight

But for all the filmmaking mastery on display in Moonlight, it’s a subtle film, not a showy one. Jenkins isn’t here to show Three different actors were cast in the off. If you didn’t know what to look for, roles. Alex Hibbert, who plays Chiron you might miss how good his work is. when he’s small enough to be nick- And yet the story itself still sticks with named “Little,” was 12 when the film you after the credits roll. Chiron’s story, shot. It was his first film role ever. Ashton about coming to understand who he is Sanders, who plays Chiron as a teenag- in a world that seems calculated to beat er, had small parts in other films before him up, is precisely the sort of thing that (including Straight Outta Compton). And movie lovers are talking about (howevTrevante Rhodes, who portrays Chiron er corny it seems) when they talk about as a streetwise adult man nicknamed the “power of cinema.” To sit with Chiron “Black,” had done only a few small parts. through three turning points in his life,

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A24 Magazine - Issue 01

Trevante Rhodes & AndrĂŠ Holland - Moonlight

Moonlight

A24 Magazine - Issue 01

Dan Sullivan interviews Good Time Directors: Josh and Benny Safdie.

Josh & Benny Safdie - Good Time

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Robert Pattinson - Good Time

Safdie brothers - Good Time

THE FILM DOESN’T HAVE A CUT-AND-

frame what their expectations should DRY RELATIONSHIP WITH THIS NO- be, but only because I didn’t want to say TION OF THE “GENRE FILM,” WHICH anything else. There’s a bank robbery I ASSUME IS QUITE DELIBERATE ON in it; the fact that in 2017, people still YOUR PART. HOW WOULD YOU CHAR- rob banks like it’s some kind of lucrative ACTERIZE THE FILM’S STATUS AS A enterprise— you can’t make that much GENRE FILM? money doing that! But they happen all the time. The idea that you’re going to Benny Safdie: It’s a genre movie with go and rob a bank is a very romantic one, real emotions. Because Ronnie and and it’s motivated more by movies than Josh were so specific with the charac- reality. terization, the characters themselves dictated the genre.

Benny Safdie: Connie’s ideas are taken from genre movies. Like, “I’m going to Josh Safdie: One major pillar of the “art rob a bank and then go and buy land…” film” as a genre is the character study. It’s such a cliché!

This is a character study, but it happens to be filled with tons of action. It follows Josh Safdie: But it’s romantic! a character who is in motion, and it becomes vertical in that regard. The score Benny Safdie: And that’s his deep-seatis also a character in the movie…it’s not ed feeling. It’s a genre movie because quite manic, but rather a fever within the main character is trying to live a the movie. These parts are all working genre movie. in tandem with one another. I would refer to it as a genre film to people to Josh Safdie: We wanted to make a

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A24 Magazine - Issue 01

“You can explain exactly what happens in the film in one sentence. I love that.”

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Benny Safdie

piece of pulp, because pulp is danger- knows that in most prisons the majorious. We wanted it to have an element ty of inmates are people of colour, and of danger to it. Good pulp, like Richard white people constitute the minority. In Stark… a way it’s an inverse of the racist, fearbased society outside. He described this Josh Safdie: Stuff happens, and in entitlement and privilege a white person Good Time morality kind of goes out brings to prison, and the majority inside the window after the robbery, but then pushes them down. I think that’s fascicomes flooding back in at the end. But nating. It’s kind of fair! ultimately it is a genre movie; it’s a onenight film.

ALL OF YOUR FILMS HAVE EXPLORED DISPARATE

FORMS

OF

LOVE—PA-

Benny Safdie: You can explain exact- TERNAL LOVE IN DADDY LONGLEGS ly what happens in the film in one sen- (2009), CATASTROPHICALLY ROMANtence. I love that.

TIC LOVE IN HEAVEN KNOWS WHAT, RACE

FUNCTIONS

COMPLICATED-

AND NOW FRATERNAL LOVE IN GOOD

LY IN THE FILM, TOO. MOST OF THE

TIME. WHAT, IF ANY, FORMS OF LOVE

CHARACTERS TO WHOM SOMETHING

ARE LEFT?

TRULY AWFUL AND NOT SELF-INFLICTED HAPPENS ARE BLACK, CONNIE AND NICK WEAR AFRICAN-AMERICAN DISGUISES WHEN THEY COMMIT THE ROBBERY, ETC. IT BEGS THE QUESTION AS TO WHETHER YOU GUYS SOUGHT TO EXPLORE CLASS AND RACE RELATIONS.

Josh Safdie: The short answer is yes.

Our friend Buddy Durress was in prison and kept a diary that I devoured, and in it what interested me so much, what was so loud to me, was the kind of role reversal that happens in prison. Everyone

Benny Safdie: It’s not a matter of different types of love, it’s passion—what people are passionate about. If someone is passionate about something, then you’re going to get closer to their humanity, to real feelings. Trying is a really human thing, even if you don’t succeed. I love that. Our dad tried to raise us, you know?

Detail of poster - Good Time

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A24 Magazine - Issue 01

Cara Buckley interviews The Florida Project’s 7 year old star: Brooklynn Prince and Director: Sean Baker.

Brooklynn Prince & Valeria Cotto - The Florida Project

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Prince & Willem Dafoe - TFP

Prince & Baker - The Florida Project

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BROOKLYNN, YOUR CHARACTER SAYS A LOT OF BAD WORDS IN THIS MOVIE. WERE YOUR PARENTS NERVOUS TO LET YOU TAKE THIS PART?

Brooklynn: Yeah. I had just turned six.

I’ve heard the S word and the B word.

I just knew those words. I didn’t know about the rest. Then, when I read the script, my mom and dad were like, “Oh my god. If you say these words at home you’re going to get in big, big trouble.”

And I’m like, “What?” But they felt good about that because Sean really kept all of us safe.

Baker: I remember that moment when we made the decision on the three children. We were in a back room of a casting company and we brought the parents in. I said to the parents, “I love your kids. I would be honored to cast them in this film. I hope you’ll agree to it. But you have to understand one thing, there is profanity that they will be hearing and sometimes uttering. We have to be on the same page that this is okay, but we’re going to work with the kids and make sure that these are only words that are said between me saying ‘action’ and ‘cut,’ not to be used in real life and not to be used off the set.” I think we were all in

agreement. And these kids are very mature; they understand. They’re respectful and that’s what it comes down to.

DID YOU FEEL LIKE YOU WERE PLAYING OR PRETENDING WHILE FILMING IN FLORIDA?

Prince: Yes. My mom and dad always said to me growing up, they said, “Brooklynn, always play. You can play all day until you go to bed!” I’m just used to playing and being a kid!

BROOKLYNN, IS THE FLORIDA PROJECT THE FIRST R-RATED MOVIE

Prince & Bria Vinaite - TFP

A24 Magazine - Issue 01

NOW THAT YOU’VE GONE TO THREE FILM FESTIVALS, YOU MUST BE MEETING A LOT OF MOVIE STARS. HAVE YOU GOTTEN TO MEET ANYONE YOU’RE VERY EXCITED ABOUT?

Prince: [Dramatically] Why do you ask?

Have you seen my new follower on Instagram? I’ll save that one for last. I met Gary Oldman... I’m really good friends with him. Helen Mirren, Emma Roberts, and Zachary Quinto. And now for my new follower on Instagram—drumroll please!.. Elle Fanning!... I know, right?

Baker: That one was really special for Brooklynn. We were in Toronto. She came by and talked for a while.

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YOU’VE SEEN?

Prince: Oh, yes.

WHAT ARE SOME OF YOUR OTHER FAVORITE MOVIES?

Prince: Right now, I love Leap! That’s my favorite one ever…. ever! And I liked Maleficent, Star Wars, Harry Potter. But I also like Tom and Jerry and Looney Tunes. So I’m half pow-and-wow, and half cartoons. I liked Wonder Woman too! It’s out on DVD, so go get it at WalMart!

Prince: I’ll tell the whole story: We were at that Hollywood Reporter place and we were about to take pictures, right Sean? I was sitting there on the couch with Bria, and all of the sudden I hear someone out of the corner of my ear go, “Brooklynn! Get out!” And I was like... you’ve gotta be kidding me. I’m like, “No, there is not—” And then I see someone and I go, Is that Elle? “Elle!” And then she turned around and I was like [Screams.]. I ran all the way over to her and I hugged her, and we just talked for a little bit about the movie and how I was her biggest fan, and, oh my gosh that was the best day of my life, ever.

I LOVE THAT STORY!

Prince: Yeah, me too.

Prince & Baker - The Florida Project

“I love your kids. I would be honored to cast them in this film.�

Sean Baker - Director

Prince & Christopher Rivera - TFP

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A24 Magazine - Issue 01

Although the company only began in 2012, A24 has quickly become one of the film world’s biggest players. Here is a look at the posters from some of A24’s features, many of which match the creativity of the bold projects themselves.

The posters of A24.

Detail of The Captive (below)

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The Witch (Initial Release: 2015)

The posters of A24

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A24 Magazine - Issue 01

The Lobster (2015)

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Slow West (2015)

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A24 Magazine - Issue 01

Good Time (2017)

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Ex Machina (2014)

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A24 Magazine - Issue 01

It Comes At Night (2017)

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The Killing of a Sacred Deer (2017)

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A24 Magazine - Issue 01

Equals (2015)

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Lady Bird (2017)

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A Prayer Before Dawn (2018)

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