![]() ![]() He was too busy worrying about what they were going to shoot the next day. It was a lot of material to cover in the amount of time they had so Kenny didn’t really have time to talk to me at night about dailies. And I didn’t have much contact with Kenny while they were shooting. When I got to New York he’d already gone off to Boston. But I never met Kenny until after production wrapped. JL: Yeah, the day they started shooting was the day I went into my new office in New York. I’m definitely going to put those scenes back.” After that the interview totally shifted into what felt like a really great conversation instead of an awkward phone interview between two people who didn’t know each other at all. I was just talking to Casey and he said the same thing. But Kenny said, “It’s so funny that you mention that. I was scared he would say, “What are you talking about?” or that he might even be mad that I’d read previous drafts of the script. I was just curious why you did that because I think they’re really important scenes.” I was nervous to bring it up. We had been on the phone for maybe 20 minutes and Kenny had done most of the talking and I hadn’t really said much, and I just thought, “Why would he hire me after this interview?” So I said to him, “I’ve read a couple earlier drafts of the script and I noticed that in the latest draft you cut a couple scenes out that I actually really loved. The movie was like three weeks out from production and Kenny was interviewing people with a lot more experience than me because of the whole drama with Margaret. Jennifer Lame (JL): I got the interview really last minute, and I was in L.A. ![]() That definitely sounds like a roll of the dice. Matt Mulcahey, MovieMaker Magazine (MM): You landed the job on Manchester by the Sea via a phone interview, during which you told director Kenneth Lonergan that his latest draft of the script dropped scenes that he should’ve kept.
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