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The Characters' Evolution
The process of making TRUE STORY was much like that of any other movie, but all three key actors admitted that it weighed heavily on them. "I've made three dramas that are based on real stories, playing real characters," says Jonah Hill, "and none of them have been more heartbreaking or heavy than this. You just feel an immense responsibility at all times to make sure that you're being respectful to the people that this actually happened to and that were affected." It was not easy for him to let go of all of this at the end of each day. "I think when you're making a comedy or a drama, anything, you kind of take the atmosphere of what you're doing home with you in some way. When I was making 21 JUMP STREET I was having fun and the set was fun, so I would go home and be in a good mood. For this, where I was spending all day every day thinking about something so devastating-something that really happened--it was almost impossible to snap out of it."

It was leagues away from the playful, outrageous comedy THIS IS THE END, the previous film in which he had appeared with James Franco. "To go from a very broad comedy like that to this kind of movie--which is probably the polar opposite-well, it was really interesting to get to do two movies of such different tones with the same actor. And, you know, James and I have a tendency to joke around with one another, but on a movie like this you just can't. You really can't."

Felicity Jones also found it hard to drop the concerns of her character at the end of the working day. "Everybody's finding it quite hard," she said during filming. "You just carry it with you. Because this is a true story, you can't just pretend that it's okay, and that it's not real, like you can do with most movies. This is more profound and a lot more complicated. So we've definitely been needing each other, and supporting each other."

"I was talking to Jonah about this yesterday," said James Franco during the filming of one of the prison sequences. "Because my character is so irredeemable, and because part of his spookiness is that on the surface he appears nice and charming, I feel a little icky being around other people between shots. I feel like I am being extra nice and I don't know if they see this as some sort of rub-off from the character. I shudder at being connected too closely with him. Fortunately, Rupert and Jonah and the whole crew behind the camera are all very, very kind. So this could have been an incredibly miserable experience just because it is so dark. But having Jonah and Rupert and such a terrific crew does make it a lot easier."

Jonah Hill is also quick to credit Rupert Goold with providing a sense of support during this not-altogether-pleasant production period. "Of course," he laughs, "Rupert is very British, which I'm not used to, and there were a lot of times when it was me, him, and Felicity, and she's also British, so I was like the odd American out. But Rupert is so smart, he's so interesting, he cares about the performances and the tone of what you're doing so much. He's very visual, but he's also very actor-centric, as many theater directors are, and of course that's great for the actors. I just think the guy's so talented, and he cares so much and he's so involved in every nuance of the scene. It was a joy to be around him and work with him. I think this movie's really going to let people here in America know who he is."

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