Jesse Eisenberg

So like, there's this irony where we are the products of a thousand miracles and yet Kieran's character doesn't even know if he wants to live. And what is that? Why do we walk around with all this modern pain when our lives are materially comfortable after being the products of incredible stories of survival?

So like, there's this irony where we are the products of a thousand miracles and yet Kieran's character doesn't even know if he wants to live. And what is that? Why do we walk around with all this modern pain when our lives are materially comfortable after being the products of incredible stories of survival?

So like, there's this irony where we are the products of a thousand miracles and yet Kieran's character doesn't even know if he wants to live. And what is that? Why do we walk around with all this modern pain when our lives are materially comfortable after being the products of incredible stories of survival?

And it's something I think about all the time because I'm, like, you know, a depressed, you know, person or whatever. And, you know, like, I walk around and I have, like, a materially nice life. And I walk around kind of, like, you know, feeling bad for myself, being miserable over, you know, minor things. And yet I'm also incredibly, like...

And it's something I think about all the time because I'm, like, you know, a depressed, you know, person or whatever. And, you know, like, I walk around and I have, like, a materially nice life. And I walk around kind of, like, you know, feeling bad for myself, being miserable over, you know, minor things. And yet I'm also incredibly, like...

And it's something I think about all the time because I'm, like, you know, a depressed, you know, person or whatever. And, you know, like, I walk around and I have, like, a materially nice life. And I walk around kind of, like, you know, feeling bad for myself, being miserable over, you know, minor things. And yet I'm also incredibly, like...

fascinated by my family's history in Poland and learning like about the suffering and I don't know how to reconcile those two things of feeling bad about my very fortunate life and also understanding the horrors of my family's past or the horrors of people around the world today and because I can't reconcile those two things I was trying to sort out that in the movie which is why the title A Real Pain it's like what is asking the audience that question what is real pain is my character's manageable medicated OCD

fascinated by my family's history in Poland and learning like about the suffering and I don't know how to reconcile those two things of feeling bad about my very fortunate life and also understanding the horrors of my family's past or the horrors of people around the world today and because I can't reconcile those two things I was trying to sort out that in the movie which is why the title A Real Pain it's like what is asking the audience that question what is real pain is my character's manageable medicated OCD

fascinated by my family's history in Poland and learning like about the suffering and I don't know how to reconcile those two things of feeling bad about my very fortunate life and also understanding the horrors of my family's past or the horrors of people around the world today and because I can't reconcile those two things I was trying to sort out that in the movie which is why the title A Real Pain it's like what is asking the audience that question what is real pain is my character's manageable medicated OCD

Pain valid? Is Kieran's pain valid, even though, you know, he's experiencing, you know, the worst of what a kind of psyche can experience, but at the same time, he is in a comfortable life, no one is trying to kill him? Or is the only pain that's valid and should be kind of acknowledged is the pain of war and of kind of mass genocide and, you know, mass trauma?

Pain valid? Is Kieran's pain valid, even though, you know, he's experiencing, you know, the worst of what a kind of psyche can experience, but at the same time, he is in a comfortable life, no one is trying to kill him? Or is the only pain that's valid and should be kind of acknowledged is the pain of war and of kind of mass genocide and, you know, mass trauma?

Pain valid? Is Kieran's pain valid, even though, you know, he's experiencing, you know, the worst of what a kind of psyche can experience, but at the same time, he is in a comfortable life, no one is trying to kill him? Or is the only pain that's valid and should be kind of acknowledged is the pain of war and of kind of mass genocide and, you know, mass trauma?

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... You know, essentially, you know, war sets, you know, that they take place in 1942 and have extras running around in Nazi uniforms. And, like, they just don't – of course, they're not going to allow that at this kind of site, which is a cemetery, which is a site of, you know, mass horror. And so –

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