Did changing the format change the way the actors approached the film?
CG: I don’t think it did. It changes, my standpoint as director, because at the end of the scene, I have to be conscious of the script, of where that ends up and goes to. I can’t bridge it with some fairly arbitrary joke. So from my standpoint, I had to watch what they were doing—look at it and say, “Is this going to be a good ending for this scene? Do we have that somewhere in the scene?” I think I can say, from the standpoint of the actors, it wasn’t really different from the way they’ve worked before. EL: I think the process is exactly the same. I don’t think there’s honestly any difference in how the actors approach this film than doing a documentary. AVC: Christopher, you’ve said that A Mighty Wind was kind of a personal film for you, because it’s about the folk-singing world, and you have a history there. Obviously, both of you come out of the film industry—did that make this film similarly personal for either of you? CG: I think Gene and I have both seen these things happen over
