Shooting nudity and simulated sex could've been off-the-charts uncomfortable, but since it was with folks like Mewes and Katie¬ófolks who're inordinately comfortable with their bodies either dressed or not-¬óit wasn't Hell on Earth for me. The two of them didn't seem to mind wearing next to nothing during the scenes–Director Kevin Smith

Ridley Scott, who read the book “Body of Lies,” when it was still in galley form, notes: “It has an unusually incisive view into what actually happens up on the front lines, and the people at the front who make a difference.”

There was a clear separation in my mind. When bits and snatches of a story come to me, I immediately know if it's going to be for the cinema or a novel. When producers sometimes ask me if I would accept to novelize the script of a film they weren't able to make I answer no. I'd be incapable of it. And it would be of no interest whatsoever. But I make use of my talents as a novelist: my desire was, as for my books, to make a film which can touch different audience categories–Writer-director Philippe Claudel

I was immediately attracted to the script, because it was so much like the way I was spending his time in New York. I was in between films. I didn't have to be up early in the morning. For the first time in my life, I was really able taking advantage of how much nightlife New York City has to offer. I recognized a lot of places and experiences that I had been enjoying at the time–Director Peter Sollett

The movie I looked at the most when writing The Lucky Ones was a great Jack Nicholson movie called “The Last Detail” directed by Hal Ashby. It's a very different story but it has a similar tone of humor and heartbreak. You get a real sense of what life was like in 1973 America and I wanted to do the same thing with The Lucky Ones, to have it be a real snapshot of today–Director Neil Burger