will poulter is fantastic. he plays a character which has a malevolence hidden under a facade of innocence. it's a tightrope that could easily fall over into caricature but it never does. the experience was thoroughly immersive. it's very, very gripping. it's often terrifying and kathryn bigelow is a fine film—maker. it's an urgent film, despite it having a period setting, it feels urgent and contemporary. that's definitely on the list. what of logan lucky? neither urgent nor contemporary. steven soderbergh is back and it's a heist movie. it's described in one moment of dialogue as ocean's 7—11. channing tatum is the mastermind behind this plan to rob the charlotte motor speedway during the coca cola 600. it's a nascar racetrack. he was going to carry out this heist with his brother adam driver. it's a heist caper movie, so it's an impossiblejob, it can't be done. but they have figured out a way to do it with tunnels under the track. and getting this guy, joe bang, who is an explosives expert played by dani

will poulter is fantastic. he plays a character which has a malevolence hidden under a facade of innocence. it's a tightrope that could easily fall over into caricature but it never does. the experience was thoroughly immersive. it's very, very gripping. it's often terrifying and kathryn bigelow is a fine film—maker. it's an urgent film, despite it having a period setting, it feels urgent and contemporary. that's definitely on the list. what of logan lucky? neither urgent nor contemporary. steven soderbergh is back and it's a heist movie. it's described in one moment of dialogue as ocean's 7—11. channing tatum is the mastermind behind this plan to rob the charlotte motor speedway during the coca cola 600. it's a nascar racetrack. he was going to carry out this heist with his brother adam driver. it's a heist caper movie, so it's an impossible job, it can't be done. but they have figured out a way to do it with tunnels under the track. and getting this guy, joe bang, who is an explosives expert played by dan

will poulter is fantastic. he plays a character which has a malevolence hidden under a facade of innocence. it's a tightrope that could easily fall over into caricature but it never does. the experience was thoroughly immersive. it's very, very gripping. it's often terrifying and kathryn bigelow is a fine film—maker. it's an urgent film, despite it having a period setting, it feels urgent and contemporary. that's definitely on the list. what of logan lucky? neither urgent nor contemporary. steven soderbergh is back and it's a heist movie. it's described in one moment of dialogue as ocean's 7—11. channing tatum is the mastermind behind this plan to rob the charlotte motor speedway during the coca cola 600. it's a nascar racetrack. he was going to carry out this heist with his brother adam driver. it's a heist caper movie, so it's an impossible job, it can't be done. but they have figured out a way to do it with tunnels under the track. and getting this guy, joe bang, who is an explosives expert played by dan

use a summer krause played by will poulter. use a summer by the writer is a character inspired by the recorded deed of a detroit policeman, although he is a fictional character. meanwhile john boyega who is a brilliant actor, is a security guard who finds himself in the middle of an impossible situation. he's somebody distrusted by both sides and attempts to make peace with both sides. he was a clip withjohn peace with both sides. he was a clip with john boyega. hey fellas, melvin dismukes. i'm with united security, i'm going to the grocery store across the street. i come bearing gifts. oh, thank you. that's a nice voice. hey, all things considered, this is pretty good. thank you. i don't have my usual appliances. got any sugar? don't push it, man. he isa he is a brilliant cinematographer. he's done what they've done before. turning it into a drama from real life. the film narrows down from a single corridor of the algiers motel within terrifying interrogation ta kes pla ce within terrifying interrogation takes place under the

will poulter is fantastic. he plays a character which has a malevolence hidden under a facade of innocence. it's a tightrope that could easily fall over into caricature but it never does. the experience was thoroughly immersive. it's very, very gripping. it's often terrifying and kathryn bigelow is a fine film—maker. it's an urgent film, despite it having a period setting, it feels urgent and contemporary. that's definitely on the list. what of logan lucky? neither urgent nor contemporary. steven soderbergh is back and it's a heist movie. it self—described in one moment of dialogue as 0cean's 7—ii. channing tatum is the mastermind behind this plan to rob the charlotte motor speedway during the coca cola 600. it's a nascar racetrack. he was going to carry out this heist with his brother adam driver. it's a heist caper movie, so it's an impossible job, it can't be done. but they have figured out a way to do it with tunnels under the track. and getting this guy, joe bang, who is an explosives expert played b

is the director, kathryn bigelow, the twoenwriter mark boal, and of the stars, john boyega and will poulter. i'm pleased to have all of you at this table. welcome. some of you i saw on previous occasions at this table. tell me how this came to be. >> this gentleman here sitting writer next toe me, whose work is extraordinary, came to me with a story set against the detroit riots, the detroit uprising in 1967. a true story, a true crime set in the algiers motel. and it was, simply put, an execution. and a portrait of police brutality and racial injustice that was extremely moving, very timely, and very topical. about the same time he told me this story, the decision not to indict the officer involved in the michael brown shooting had taken place. i felt the story needed to be told. charlie: because it has lessons for today? kathryn: because it has lessons for today exactly. , charlie: had you been thinking about this? how long had you been thinking this is a story that ought to be told? >> we talked about it internally for a while and what pushed it into an actual script was a meeting i had

what will poulter is doing with the other two officers is clearing floor by floor and room by room that entire building looking for the gun responsible for the sniper fire. oft is kind of the engine the early moments in the and next -- annex. charlie: tell me about your training and what has given you the most tools to work with. >> at nine years old, i decided i wanted to act. i got a scholarship to the local theater group where i had to do contemporary dance and ballet in order to do acting. it came as a deal package, so i had to do all of it. is probablylet good. >> i can still boogie down. after that, i went to pursue drama school seriously. i went to identity and met my agent. that training was intense. charlie: how long have you been doing it? >> i have been doing it professionally six years i think it will be. six years. charlie: what did you learn from this role in this film? "detroit" gave me purpose. have ato do movies that big commentary on the world once in a while. i like to have fun most of the time. my mind draws me toward projects that have serious context -- content. it

spoke with the film's director, kathryn bigelow, writer mark boal, and actors john boyega and will poulter. >> the writer next to me who-- whose work is extraordinary, came to me way story set against the detroit riots, detroit uprisinrising in 1967, a true sy of a true crime set in the middle of it in the algiers motel. and it was, simply put, an execution. and a portrait of police brutality and racial injustice that was extremely moving, very timely, and very topical, and about the same time that he told me this story, the decision not to indict the officer involved in the michael brown shooting had taken place. and so i felt that this story needed to be told. >> rose: describe the character. >> he's a man trying to-- trying to do good who is forced into a circumstance he wasn't prepared for. melvin-- i actually got the opportunity to speak to him, which is great. and i found that he's stern in some respects but also a do-gooder. >> rose: when you talk to somebody and there's a text that's based in part on real events, are you looking for a spirit? are you looking for mannerisms, or are

>> i really enjoy working with anthony mackey and will poulter. i like being in that room and around this incredible talent. >> rose: there's a moment in the director's life where the actors take it even beyond what you would have ever thought? >> absolutely. it's magic when that happens and that happened, i think, every day on the set. >> rose: how does the director get that? there is moments in which you guys take it beyond. what's her role, then? >> i think, for me, the best directors know how to collaborate. the best directors know the balance between technical and art because there are cameras, there are many things to concentrate on, but there's a balance that they hold, and, also, it's guidance. with notes, sometimes an actor when the cameras are rolling, you're thinking of yourself, and a director guides you to come back to character, to come back to story, and that's what kathryn does very, very well. >> i was going to say kathryn together with barry creates a really unique environment. it was astonishing to be on set and to feel genuinel