Jesse Eisenberg

So like, you know, when I was writing the movie, I had set a scene at Majdanek. That's the camp that was like, you know, it's really five minutes away from where I had family. And, uh, As soon as I finished the script, I just assumed that we'd be able to, you know, film there because it was in the script.

So like, you know, when I was writing the movie, I had set a scene at Majdanek. That's the camp that was like, you know, it's really five minutes away from where I had family. And, uh, As soon as I finished the script, I just assumed that we'd be able to, you know, film there because it was in the script.

So like, you know, when I was writing the movie, I had set a scene at Majdanek. That's the camp that was like, you know, it's really five minutes away from where I had family. And, uh, As soon as I finished the script, I just assumed that we'd be able to, you know, film there because it was in the script.

Until we got Polish producers on board who told me that they read the script and they think everything is doable, but that it's going to cost a million dollars to build Majdanek. I was like, what do you mean a million dollars? It's already there. She said, well, no, you can't film, you know, a narrative movie, you know, at a concentration camp.

Until we got Polish producers on board who told me that they read the script and they think everything is doable, but that it's going to cost a million dollars to build Majdanek. I was like, what do you mean a million dollars? It's already there. She said, well, no, you can't film, you know, a narrative movie, you know, at a concentration camp.

Until we got Polish producers on board who told me that they read the script and they think everything is doable, but that it's going to cost a million dollars to build Majdanek. I was like, what do you mean a million dollars? It's already there. She said, well, no, you can't film, you know, a narrative movie, you know, at a concentration camp.

These are hallowed grounds and, you know, they get asked every day to be turned into... Essentially, war sets that they take place in 1942 and have extras running around in Nazi uniforms. Of course, they're not going to allow that at this kind of site, which is a cemetery, which is a site of mass horror.

These are hallowed grounds and, you know, they get asked every day to be turned into... Essentially, war sets that they take place in 1942 and have extras running around in Nazi uniforms. Of course, they're not going to allow that at this kind of site, which is a cemetery, which is a site of mass horror.

These are hallowed grounds and, you know, they get asked every day to be turned into... Essentially, war sets that they take place in 1942 and have extras running around in Nazi uniforms. Of course, they're not going to allow that at this kind of site, which is a cemetery, which is a site of mass horror.

Over the course of like the next eight months before we made the movie, I just tried to reach out in any way possible to this concentration camp, Majdanek, to explain what I wanted to do, which is I wanted to film a scene of a modern tour group going through this place, you know, in an attempt to have it be part of the movie, but also to show audiences what this place is.

Over the course of like the next eight months before we made the movie, I just tried to reach out in any way possible to this concentration camp, Majdanek, to explain what I wanted to do, which is I wanted to film a scene of a modern tour group going through this place, you know, in an attempt to have it be part of the movie, but also to show audiences what this place is.

Over the course of like the next eight months before we made the movie, I just tried to reach out in any way possible to this concentration camp, Majdanek, to explain what I wanted to do, which is I wanted to film a scene of a modern tour group going through this place, you know, in an attempt to have it be part of the movie, but also to show audiences what this place is.

And my kind of plea to them was that I want to do the same thing you're doing. You exist as a museum to show people today what happened on this site. And I'm trying to do the same thing through my movie. And so once we kind of were able to, you know, speak to the people who work there, who are these unbelievably powerful, brilliant young academics.

And my kind of plea to them was that I want to do the same thing you're doing. You exist as a museum to show people today what happened on this site. And I'm trying to do the same thing through my movie. And so once we kind of were able to, you know, speak to the people who work there, who are these unbelievably powerful, brilliant young academics.

And my kind of plea to them was that I want to do the same thing you're doing. You exist as a museum to show people today what happened on this site. And I'm trying to do the same thing through my movie. And so once we kind of were able to, you know, speak to the people who work there, who are these unbelievably powerful, brilliant young academics.

These are not like state apparatchiks who are running this place. These are like young academics who could be doing anything with their lives and are spending it every day at a concentration camp to preserve the memory of Jewish history. And so once we were able to be in touch with them, they understood what my motivation was and how respectful we were going to be, how the scenes would be shot.

These are not like state apparatchiks who are running this place. These are like young academics who could be doing anything with their lives and are spending it every day at a concentration camp to preserve the memory of Jewish history. And so once we were able to be in touch with them, they understood what my motivation was and how respectful we were going to be, how the scenes would be shot.

These are not like state apparatchiks who are running this place. These are like young academics who could be doing anything with their lives and are spending it every day at a concentration camp to preserve the memory of Jewish history. And so once we were able to be in touch with them, they understood what my motivation was and how respectful we were going to be, how the scenes would be shot.

We went over every word in the script. We went over every angle that we wanted to film.

We went over every word in the script. We went over every angle that we wanted to film.