November 28, 2025 • 13 mins
Eighty years ago, the Nazi high command was put on trial in Nuremberg.
A brand new film, named for the trials, follows a lesser-known story, that of a US Army psychiatrist tasked with determining whether the detained officials were fit to stand trial.
It features Kiwi actor Russell Crowe as the charismatic Hermann Göring, Hitler’s longtime second in command, and Rami Malek as psychiatrist Douglas Kelly.
The film was written and directed by James Vanderbilt, best known for his work on The Amazing Spiderman and Zodiac.
As much as the film is about the atrocities committed by the Nazis, it's also very much about the dynamic between Göring and Kelly.
Vanderbilt told Jack Tame that one of their early inspirations was ‘Silence of the Lambs’, with a person going into a cell and sitting with a prisoner.
“In our film they’re both trying to get over on each other a little bit, they’re both trying to get something out of each other.”
“I sort of loved the idea of these two men, both trying to play each other, and yet at the same time, connecting in a way neither of them saw coming,” Vanderbilt said.
“That to me just felt delicious.”
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Speaker 1 (00:07):
You're listening to the Saturday Morning with Jack Tame podcast
from news Talks at b.
Speaker 2 (00:13):
Eighty years ago, Nazi high command were put on trial
in Nuremberg. In a brand new film, Nuremberg follows the
lesson on lead up to official proceedings as a psychiatrist
evaluates the psychological fitness of detained Nazi officials.
Speaker 3 (00:32):
Justice Jackson, they captures Herman Goring alive. The governments of Russia, France,
Great Britain and our United States. We'll put these men.
Speaker 2 (00:41):
On trial for their lives. Doctor Kelly, who will expect
and ensure the prisoner's mental health.
Speaker 3 (00:48):
Is highly intelligent, charming, and a narcissist.
Speaker 1 (00:52):
I am going to escape, saying.
Speaker 3 (00:53):
Men, very sure, no man has ever beitten me.
Speaker 2 (00:59):
Best known for scripting blockbuster hits, an edge of your
seat thrillers like The Amazing Spider Man and Zodiac, James
Vanderbilt wrote the screenplay for Nuremberg and directed the film,
and James is with us this morning, keld To, welcome
to the show.
Speaker 3 (01:14):
Thank you for having me, Jack.
Speaker 2 (01:16):
Nuremberg is an extraordinary film. It is effecting and it
feels timely. What is it about this story that you
wanted to tell.
Speaker 3 (01:28):
I mean so many things, you know. It was I
first came to it thirteen years ago and I read
a book proposal by a guy named Jack L. High,
who ended up writing The Nazi and the Psychiatrist, which
was the book the film was based on. But it
was only five or six pages, and it sort of
talked about the psychiatrist Douglas Kelly, who Romi Malick plays,
(01:48):
being called in at the end of World War Two
to go and evaluate the surviving Nazi high command, including
Herman Gerring, who Russell Crowe plays, And it was so
it was so fascinating to me because it was it
was a period of time I thought I knew a
lot about I studied it in school, like we all
sort of do in the States, and yet I knew
nothing about this. So I didn't know there were psychiatrists
(02:10):
in the US Army in World War Two. I didn't
know that this whole situation had transpired. I didn't know
the US Army and many of the other countries had
no interest in putting the trials on in the first
place and had to be talked into it. So it
just was such an incredible story that really happened. It
was the fastest I ever said yes to anything in
my life.
Speaker 2 (02:30):
Yeah, I'm glad you said that, because I felt exactly
the same way. And then I felt like I had
a sort of an understanding, you know, a kind of broad,
if somewhat loose understanding of the history. I knew about
the trials, I knew about the process and establishing the court,
but I had absolutely no idea about this character, Douglas Kelly,
who kind of fulfilled an extraordinary role. But clearly, the film,
(02:54):
as much as it is about the Nazis' atrocities, is
really about a relationship between two men, between Rhymey's character
and between Russell's characters. So can you talk to me
about your pro and trying to describe that relationship.
Speaker 3 (03:10):
Well, you know, it's interesting. One of the first movies
we talked about with Silence of the Lambs and that
idea of the person going into the cell and sitting
with the prisoner, you know, and in our film, they're
both trying to get over on each other a little bit.
They're both trying to get something out of each other.
Kelly is trying to get you know, Goring to open
up for a book he wants to write, you know,
(03:31):
and he wants to understand what is the nature of
evil and what mirroring is trying to get something out
of Kelly, you know, he's trying to get over on him.
He's trying to get his last moment in the sun
in the courtroom. And so that relationship with something we
talked a lot about, and I sort of loved the
idea of these two men both trying to play each
other and yet at the same time connecting in a
(03:52):
way that neither of them saw coming, and that to
me just felt delicious in order to play. And as
I started researching it, because the book is really just
about the two of them, I learned about Robert Jackson,
whom Michael Shannon plays, and all of the work he
did to put the Trials on. You know, the US
Army didn't want the trials. They wanted to shoot the
Nazis in the head and call it today. And Jackson said, no,
(04:14):
this is important. This, you know, these crimes need to
be exposed on the world stage for people to actually
believe that this really happened. And he made the trials happen.
Then took a leave of absence from the Supreme Court
flew to Nuremberg became the chief prosecutor for the Americans.
So at first I went, oh, I think my movie's
over here in the cell. And then I went, oh,
but it's also over here with Jackson in the court.
(04:37):
And I learned about how he treast who's the translator
who Leo Woodall plays in his story, and I went, oh,
my gosh, my mo movie's also over here with this character.
And so as I researched that, you know, the movie
just kind of grew and grew and grew and grew,
which as a screenwriter is terrifying, sort of not what
you want. You know, when you adapt something, it's about subtraction.
You know, you get three hundred and fifty pages of
(04:58):
a book that you got to fit into two hours
of the film. And this thing went exactly the other way.
It just kept getting bigger and bigger and bigger. But
I'm I'm so happy it did because I just there's
so many fascinating stories that I get to interweave in
the film.
Speaker 2 (05:12):
I can only imagine your horror at the story getting bigger.
When the thing that really distinguishes Nuremberg, I think is
that you have managed to distill the complexity of the
relationship like you can imagine in another world and in
another film, it would be very easy to have a
kind of binary vision of both Douglas and of human Gerring, right,
(05:33):
and just be like, here's evil, he is good, and
that's the end of that. But actually, the thing that
you've really achieved in the film is that you've managed
to show a far more nuanced relationship, the things they
like about each other, the sort of elements of friendship
and companionship that they have, as well as the more
dark and kind of sinister components, which I mean as
(05:53):
a hell of an achievement. But talk to me about
your decision to write the film, because that's a critical
part I think in achieving that complexity.
Speaker 3 (06:05):
Well, I mean, you know that the amazing thing was
I decided to write the film immediately. It wasn't you know.
I think if you had told me, oh, it's going
to take thirteen years and it's going to be all
of this, I probably would have had a little bit
more pause. But you know, I'm a writer first and foremost,
and I love stories, and this one just spoke to
me immediately, incredibly fast, and I was the fastest. As
(06:25):
I said, I've ever said yes to anything in my life.
I just when I have to, I have to write this,
I have to explore these characters. I have to be
in that cell with them and sort of discover these
things about them because because of the complexity of it,
because of the humanity of both of them. I thought,
that's what, you know, sort of I think hopefully sets
this movie apart, you know, and it is scarier to
(06:47):
think of you know, you know Herman Goring as a
as a three dimensional character. It's easy to sort of
go good guy, bad guy. But you know, the truth
of the matter is, you know, people who do monstrous
things also do love their wives like we love our wives.
They do love their children like we love our children.
And I do think that's scarier.
Speaker 2 (07:06):
Yeah, people can tame multitudes, right, That's that's the nature
of being a person. So what did you learn about
whom and Gurring during this process that prep surprised you
the most?
Speaker 3 (07:18):
Well, the first thing I learned about him was that
he was incredibly funny and charming, and everybody sort of
agreed on that. You know, someone once described him as
the best dinner party guest you'll ever have, which you
know is not the you know, that kind of magnetism,
a charm is not what you think of I think
when you think of the Nazis. That was fascinating to me.
(07:40):
And just his his upbringing, some of this where he
came from, some of the stories, who he's named after,
all of this stuff is in the film just really,
you know, sort of sort of knocked my socks off
and felt to me like could be an amazing character
for an actor to play if we got the right
person to do it, and we did with Russell Crowe.
(08:02):
He just dove in with both feet and was incredible.
Speaker 2 (08:05):
You're listening to Jack Tame. I'm speaking to James Vanderbilt,
who has just directed the film Nuremberg starring Rami Melick
and Russell Crowe. Talk to us about working with Russell
as fellow New Zealanders. We obviously feel a deep connection
and a deep sense of pride about all that Russell
has has achieved. But it felt like he had a
real presence in this film, and part of that was
his performance. Part of that was the way perhaps you
(08:27):
treated Hermann Goerring in that he filled the frame a
lot of the time in quite a quite an effectful way.
Speaker 3 (08:33):
Yes, I mean, you know, Guring was very very powerful,
and Russell as a performer is very very powerful. And
that's absolutely one of the things I wanted. One of
the reasons he was my first choice for it was,
you know, I wanted so and there's some they're wonderful
character actors out there, They're wonderful German actors out there,
but that seductive magnetism that you know, the fact that
we as audiences have been in love with this guy
(08:54):
for twenty five years, We've seen him, we loved him
in things. I really wanted to use that sort of
screen presence and baggage kind of against you in a way.
And you know, I also knew I needed a really
great actor, you know, who could do that, who could
portray those multitudes. And you know, the thing about Russell
is he is a movie star, but he is a
(09:16):
leading man. He's a character actor in a leading man's body,
and he will go to those places. And you know,
he first attached himself to the movie in twenty nineteen
and stayed with it for five years of the money
coming in and the money falling out, and there were
moments where he could have said you know, good luck, mate,
I'll show myself out. But I don't think this is
(09:36):
going to happen. But he never looked for the door.
He always looked for a way to make this movie happen.
It wouldn't exist without Russell Crow. And then when we
got to shoot it, you know, and I saw him
do all of the prep work. I saw him do
all the research. You know, he found out of print books,
he went over girring speeches as the Reich Marshall when
he was in power, you know, and would tell me things,
(09:57):
talk to me about how, you know, how Gurring really
disliked Gebels, how he didn't feel very good about Himler.
He would discover things along the way that we would
weave into film. So it was just a tremendous collaboration
with a man who certainly has nothing left to prove
in his performances, and yet attack this thing like he
had everything to prove.
Speaker 2 (10:18):
Without wanting to give too much away. One of your
very conscious decisions in the film is to, as well
as all the beautifully shot modern footage, is to use
historic footage from the camps. And yes, I mean, I
just feel like you could have heard a pin drop,
you know, in the theater as those scenes were playing,
to talk to us about that decision, because I suppose
(10:42):
as audiences it's easy to be caught up and in
a you know, in a modern Hollywood narrative, but that
really grounds your audience.
Speaker 3 (10:52):
Yeah, it was the very first draft. It was something
that I was adamant about that we were going to
use the real footage, what they shot in the camps
and what was really shown in the courtroom. And you know,
I remember that my first ad sort of going, so,
how are we going to do this? Are we going
to shoot something for I said, no, no, no, We're not
gonna shoot anything. This is gonna be the real stuff,
the real footage. It's the real narration. And it was
(11:13):
just it was very important to me. And as we
cast the movie and I talked to the different actors,
I sort of would say to them, listen, you know
there's the scene in the courtroom. That footage is out there.
I know you want to research the movie, but do
me a favor, don't watch it because I want you
fresh on the day to experience. And they all agreed.
(11:33):
And then that, you know, on the day we brought
in a real projector we built. We had built the
court room to scale to within an inch of it,
so that courtroom is as big as the real courtroom
in Nuremberg. And we had three hundred extras, and so
I went out and I sort of explained to them, Okay,
this is what's going to happen today. This is what
we're going to see. It's the real footage. It's very powerful.
(11:55):
And we had a moment of silence, and I set
up four cameras to cover there are leads, and then
we rolled the film. You know, we didn't have a
blue screen. It was the real film being shown. And
you know, we have a lot of great actors in
this movie. So I don't want to say no acting
was required that day, but those images are as powerful now,
I think as they were eighty years ago. And that
(12:16):
was that was definitely the toughest day on set.
Speaker 2 (12:19):
Finally, Jimes, what do you hope people get out of
this film?
Speaker 3 (12:23):
I mean, I think it's you know, it's it's funny.
I get asked that question, and I go back to
I worked with David Fincher many years ago, and and
he said something to me that always stuck with me,
which is that good movies make you ask questions. Bad
movies give you all the answers, and so I don't
I think, you know, the wonderful thing about film is,
you know, we work really hard and we try and
(12:44):
make it as good as we can, but in the end,
it belongs to the audience. So I think it's sort
of it's up to people to ask their own questions,
you know, whatever it spurs and them, whatever it makes
them consider or reconsider, I think is a good thing.
But I do think, you know, it's important to look
backwards in order to move forwards. And you know, we
forget the we forget the past at our peril.
Speaker 2 (13:05):
Well, you should be a me proud for what you
have achieved with Nuremberg. Thank you so much for giving
us your time and all the very best.
Speaker 3 (13:12):
Oh, thank you for having me. I really appreciate it. Jack,
take care.
Speaker 2 (13:15):
That is James Vanderbilt. He is the writer and director
of Nuremberg and it hits our cinemas this Thursday, December
before Don't Forget as well. Tomorrow morning on the Sunday session,
Francesca Rudkin is going to be speaking to Russell Crowe
about his performance as Herman.
Speaker 1 (13:30):
Goring for more from Saturday Morning with Jack Tame. Listen
live to News Talks ed B from nine am Saturday,
or follow the podcast on iHeartRadio
You're listening to the Saturday Morning with Jack Tame podcast
from news Talks at b.
Speaker 2 (00:13):
Eighty years ago, Nazi high command were put on trial
in Nuremberg. In a brand new film, Nuremberg follows the
lesson on lead up to official proceedings as a psychiatrist
evaluates the psychological fitness of detained Nazi officials.
Speaker 3 (00:32):
Justice Jackson, they captures Herman Goring alive. The governments of Russia, France,
Great Britain and our United States. We'll put these men.
Speaker 2 (00:41):
On trial for their lives. Doctor Kelly, who will expect
and ensure the prisoner's mental health.
Speaker 3 (00:48):
Is highly intelligent, charming, and a narcissist.
Speaker 1 (00:52):
I am going to escape, saying.
Speaker 3 (00:53):
Men, very sure, no man has ever beitten me.
Speaker 2 (00:59):
Best known for scripting blockbuster hits, an edge of your
seat thrillers like The Amazing Spider Man and Zodiac, James
Vanderbilt wrote the screenplay for Nuremberg and directed the film,
and James is with us this morning, keld To, welcome
to the show.
Speaker 3 (01:14):
Thank you for having me, Jack.
Speaker 2 (01:16):
Nuremberg is an extraordinary film. It is effecting and it
feels timely. What is it about this story that you
wanted to tell.
Speaker 3 (01:28):
I mean so many things, you know. It was I
first came to it thirteen years ago and I read
a book proposal by a guy named Jack L. High,
who ended up writing The Nazi and the Psychiatrist, which
was the book the film was based on. But it
was only five or six pages, and it sort of
talked about the psychiatrist Douglas Kelly, who Romi Malick plays,
(01:48):
being called in at the end of World War Two
to go and evaluate the surviving Nazi high command, including
Herman Gerring, who Russell Crowe plays, And it was so
it was so fascinating to me because it was it
was a period of time I thought I knew a
lot about I studied it in school, like we all
sort of do in the States, and yet I knew
nothing about this. So I didn't know there were psychiatrists
(02:10):
in the US Army in World War Two. I didn't
know that this whole situation had transpired. I didn't know
the US Army and many of the other countries had
no interest in putting the trials on in the first
place and had to be talked into it. So it
just was such an incredible story that really happened. It
was the fastest I ever said yes to anything in
my life.
Speaker 2 (02:30):
Yeah, I'm glad you said that, because I felt exactly
the same way. And then I felt like I had
a sort of an understanding, you know, a kind of broad,
if somewhat loose understanding of the history. I knew about
the trials, I knew about the process and establishing the court,
but I had absolutely no idea about this character, Douglas Kelly,
who kind of fulfilled an extraordinary role. But clearly, the film,
(02:54):
as much as it is about the Nazis' atrocities, is
really about a relationship between two men, between Rhymey's character
and between Russell's characters. So can you talk to me
about your pro and trying to describe that relationship.
Speaker 3 (03:10):
Well, you know, it's interesting. One of the first movies
we talked about with Silence of the Lambs and that
idea of the person going into the cell and sitting
with the prisoner, you know, and in our film, they're
both trying to get over on each other a little bit.
They're both trying to get something out of each other.
Kelly is trying to get you know, Goring to open
up for a book he wants to write, you know,
(03:31):
and he wants to understand what is the nature of
evil and what mirroring is trying to get something out
of Kelly, you know, he's trying to get over on him.
He's trying to get his last moment in the sun
in the courtroom. And so that relationship with something we
talked a lot about, and I sort of loved the
idea of these two men both trying to play each
other and yet at the same time connecting in a
(03:52):
way that neither of them saw coming, and that to
me just felt delicious in order to play. And as
I started researching it, because the book is really just
about the two of them, I learned about Robert Jackson,
whom Michael Shannon plays, and all of the work he
did to put the Trials on. You know, the US
Army didn't want the trials. They wanted to shoot the
Nazis in the head and call it today. And Jackson said, no,
(04:14):
this is important. This, you know, these crimes need to
be exposed on the world stage for people to actually
believe that this really happened. And he made the trials happen.
Then took a leave of absence from the Supreme Court
flew to Nuremberg became the chief prosecutor for the Americans.
So at first I went, oh, I think my movie's
over here in the cell. And then I went, oh,
but it's also over here with Jackson in the court.
(04:37):
And I learned about how he treast who's the translator
who Leo Woodall plays in his story, and I went, oh,
my gosh, my mo movie's also over here with this character.
And so as I researched that, you know, the movie
just kind of grew and grew and grew and grew,
which as a screenwriter is terrifying, sort of not what
you want. You know, when you adapt something, it's about subtraction.
You know, you get three hundred and fifty pages of
(04:58):
a book that you got to fit into two hours
of the film. And this thing went exactly the other way.
It just kept getting bigger and bigger and bigger. But
I'm I'm so happy it did because I just there's
so many fascinating stories that I get to interweave in
the film.
Speaker 2 (05:12):
I can only imagine your horror at the story getting bigger.
When the thing that really distinguishes Nuremberg, I think is
that you have managed to distill the complexity of the
relationship like you can imagine in another world and in
another film, it would be very easy to have a
kind of binary vision of both Douglas and of human Gerring, right,
(05:33):
and just be like, here's evil, he is good, and
that's the end of that. But actually, the thing that
you've really achieved in the film is that you've managed
to show a far more nuanced relationship, the things they
like about each other, the sort of elements of friendship
and companionship that they have, as well as the more
dark and kind of sinister components, which I mean as
(05:53):
a hell of an achievement. But talk to me about
your decision to write the film, because that's a critical
part I think in achieving that complexity.
Speaker 3 (06:05):
Well, I mean, you know that the amazing thing was
I decided to write the film immediately. It wasn't you know.
I think if you had told me, oh, it's going
to take thirteen years and it's going to be all
of this, I probably would have had a little bit
more pause. But you know, I'm a writer first and foremost,
and I love stories, and this one just spoke to
me immediately, incredibly fast, and I was the fastest. As
(06:25):
I said, I've ever said yes to anything in my life.
I just when I have to, I have to write this,
I have to explore these characters. I have to be
in that cell with them and sort of discover these
things about them because because of the complexity of it,
because of the humanity of both of them. I thought,
that's what, you know, sort of I think hopefully sets
this movie apart, you know, and it is scarier to
(06:47):
think of you know, you know Herman Goring as a
as a three dimensional character. It's easy to sort of
go good guy, bad guy. But you know, the truth
of the matter is, you know, people who do monstrous
things also do love their wives like we love our wives.
They do love their children like we love our children.
And I do think that's scarier.
Speaker 2 (07:06):
Yeah, people can tame multitudes, right, That's that's the nature
of being a person. So what did you learn about
whom and Gurring during this process that prep surprised you
the most?
Speaker 3 (07:18):
Well, the first thing I learned about him was that
he was incredibly funny and charming, and everybody sort of
agreed on that. You know, someone once described him as
the best dinner party guest you'll ever have, which you
know is not the you know, that kind of magnetism,
a charm is not what you think of I think
when you think of the Nazis. That was fascinating to me.
(07:40):
And just his his upbringing, some of this where he
came from, some of the stories, who he's named after,
all of this stuff is in the film just really,
you know, sort of sort of knocked my socks off
and felt to me like could be an amazing character
for an actor to play if we got the right
person to do it, and we did with Russell Crowe.
(08:02):
He just dove in with both feet and was incredible.
Speaker 2 (08:05):
You're listening to Jack Tame. I'm speaking to James Vanderbilt,
who has just directed the film Nuremberg starring Rami Melick
and Russell Crowe. Talk to us about working with Russell
as fellow New Zealanders. We obviously feel a deep connection
and a deep sense of pride about all that Russell
has has achieved. But it felt like he had a
real presence in this film, and part of that was
his performance. Part of that was the way perhaps you
(08:27):
treated Hermann Goerring in that he filled the frame a
lot of the time in quite a quite an effectful way.
Speaker 3 (08:33):
Yes, I mean, you know, Guring was very very powerful,
and Russell as a performer is very very powerful. And
that's absolutely one of the things I wanted. One of
the reasons he was my first choice for it was,
you know, I wanted so and there's some they're wonderful
character actors out there, They're wonderful German actors out there,
but that seductive magnetism that you know, the fact that
we as audiences have been in love with this guy
(08:54):
for twenty five years, We've seen him, we loved him
in things. I really wanted to use that sort of
screen presence and baggage kind of against you in a way.
And you know, I also knew I needed a really
great actor, you know, who could do that, who could
portray those multitudes. And you know, the thing about Russell
is he is a movie star, but he is a
(09:16):
leading man. He's a character actor in a leading man's body,
and he will go to those places. And you know,
he first attached himself to the movie in twenty nineteen
and stayed with it for five years of the money
coming in and the money falling out, and there were
moments where he could have said you know, good luck, mate,
I'll show myself out. But I don't think this is
(09:36):
going to happen. But he never looked for the door.
He always looked for a way to make this movie happen.
It wouldn't exist without Russell Crow. And then when we
got to shoot it, you know, and I saw him
do all of the prep work. I saw him do
all the research. You know, he found out of print books,
he went over girring speeches as the Reich Marshall when
he was in power, you know, and would tell me things,
(09:57):
talk to me about how, you know, how Gurring really
disliked Gebels, how he didn't feel very good about Himler.
He would discover things along the way that we would
weave into film. So it was just a tremendous collaboration
with a man who certainly has nothing left to prove
in his performances, and yet attack this thing like he
had everything to prove.
Speaker 2 (10:18):
Without wanting to give too much away. One of your
very conscious decisions in the film is to, as well
as all the beautifully shot modern footage, is to use
historic footage from the camps. And yes, I mean, I
just feel like you could have heard a pin drop,
you know, in the theater as those scenes were playing,
to talk to us about that decision, because I suppose
(10:42):
as audiences it's easy to be caught up and in
a you know, in a modern Hollywood narrative, but that
really grounds your audience.
Speaker 3 (10:52):
Yeah, it was the very first draft. It was something
that I was adamant about that we were going to
use the real footage, what they shot in the camps
and what was really shown in the courtroom. And you know,
I remember that my first ad sort of going, so,
how are we going to do this? Are we going
to shoot something for I said, no, no, no, We're not
gonna shoot anything. This is gonna be the real stuff,
the real footage. It's the real narration. And it was
(11:13):
just it was very important to me. And as we
cast the movie and I talked to the different actors,
I sort of would say to them, listen, you know
there's the scene in the courtroom. That footage is out there.
I know you want to research the movie, but do
me a favor, don't watch it because I want you
fresh on the day to experience. And they all agreed.
(11:33):
And then that, you know, on the day we brought
in a real projector we built. We had built the
court room to scale to within an inch of it,
so that courtroom is as big as the real courtroom
in Nuremberg. And we had three hundred extras, and so
I went out and I sort of explained to them, Okay,
this is what's going to happen today. This is what
we're going to see. It's the real footage. It's very powerful.
(11:55):
And we had a moment of silence, and I set
up four cameras to cover there are leads, and then
we rolled the film. You know, we didn't have a
blue screen. It was the real film being shown. And
you know, we have a lot of great actors in
this movie. So I don't want to say no acting
was required that day, but those images are as powerful now,
I think as they were eighty years ago. And that
(12:16):
was that was definitely the toughest day on set.
Speaker 2 (12:19):
Finally, Jimes, what do you hope people get out of
this film?
Speaker 3 (12:23):
I mean, I think it's you know, it's it's funny.
I get asked that question, and I go back to
I worked with David Fincher many years ago, and and
he said something to me that always stuck with me,
which is that good movies make you ask questions. Bad
movies give you all the answers, and so I don't
I think, you know, the wonderful thing about film is,
you know, we work really hard and we try and
(12:44):
make it as good as we can, but in the end,
it belongs to the audience. So I think it's sort
of it's up to people to ask their own questions,
you know, whatever it spurs and them, whatever it makes
them consider or reconsider, I think is a good thing.
But I do think, you know, it's important to look
backwards in order to move forwards. And you know, we
forget the we forget the past at our peril.
Speaker 2 (13:05):
Well, you should be a me proud for what you
have achieved with Nuremberg. Thank you so much for giving
us your time and all the very best.
Speaker 3 (13:12):
Oh, thank you for having me. I really appreciate it. Jack,
take care.
Speaker 2 (13:15):
That is James Vanderbilt. He is the writer and director
of Nuremberg and it hits our cinemas this Thursday, December
before Don't Forget as well. Tomorrow morning on the Sunday session,
Francesca Rudkin is going to be speaking to Russell Crowe
about his performance as Herman.
Speaker 1 (13:30):
Goring for more from Saturday Morning with Jack Tame. Listen
live to News Talks ed B from nine am Saturday,
or follow the podcast on iHeartRadio
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