When Kazan and Mulligan signed on to play Kantor and Twohey, they spent time with the reporters not only to see what they were like at work, but also in their personal lives. “Certain scenes play out pretty much exactly as they really transpired, other things are invented or changed, and then there’s this third layer of things that didn’t literally happen, but have this sort of deeper truth that really is in line with what happened or how we felt at the time,” says Kantor. “It was very important to us that the victims were represented with integrity and sensitivity, and that also The New York Times, our workplace, was.”īut they also wanted to give screenwriter Rebecca Lenkiewicz and director Maria Schrader the space they needed to take their book and structure it in the way it would work for a film. “We wrote our book because we felt like this story belonged to everybody, not just us,” says Kantor, who adds that their main priority in the adaptation process was about accuracy.
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