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Creator=Matthew Michael Carnahan / directed by=Todd Haynes / A corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution / Country=USA / Release year=2019 / runtime=126 Minutes. Not looked forward to a film so much in years! Got to wait until bloomin January for the UK release though 😔. Critics Consensus Dark Waters powerfully relays a real-life tale of infuriating malfeasance, honoring the victims and laying blame squarely at the feet of the perpetrators. 89% TOMATOMETER Total Count: 144 95% Audience Score Verified Ratings: 2, 629 Dark Waters Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Dark Waters Videos Photos Movie Info Inspired by a shocking true story, a tenacious attorney (Mark Ruffalo) uncovers a dark secret that connects a growing number of unexplained deaths due to one of the world's largest corporations. In the process, he risks everything -- his future, his family, and his own life -- to expose the truth. Rating: PG-13 (for thematic content, some disturbing images and strong language) Genre: Directed By: Written By: In Theaters: Dec 6, 2019 wide Runtime: 126 minutes Studio: Focus Features Cast News & Interviews for Dark Waters Critic Reviews for Dark Waters Audience Reviews for Dark Waters Dark Waters Quotes News & Features.

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Dark waters watch full length album. I've fought mudcrabs more fearsome than you. Someone needs to make a movie of this story. Those guys at the EPA and elsewhere in the '90s were corrupted? Brace yourselves people: this administration's EPA will be the worst we'll all have ever seen. And the good folks upstairs at DuPont. I don't even want to get started. Bastards. Anything for the bottom line. If I had my say the mucky mucks would be swimming in that soup every day.

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I'm going to go with a classic: All The President's Men

Dark Water. omg. WHERE have you BEEN? I thought you got picked up by the MIB. Don't scare me like

Thankyou for your show, I hope the girl your visiting is safe and well. Dark waters watch full length youtube. This needs to be a real movie and if it doesn't become a real movie I will start a war petition to make this a real movie must start now. 1:31 did he just pick up a manequin? Lol.

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WatCh Dark Waters fulL mOviE eNGlISh download… Dark Waters free OnLinE watch. I got click bated by the gymnast with the huge badankadonk. Dark Waters Watch full length. Dark Waters Watch Full length. Dark waters watch full length film. Nobody, absolutely nobody Comments: LiKe A FrOzEn pOpSiClE. We’re living in a moment for urgent, quickly made political storytelling in Hollywood—and Dark Waters, the new thriller from Todd Haynes, is a case in point. Based on a 2016 New York Times Magazine feature by Nathaniel Rich, the film tells the story of Rob Bilott, a corporate defense attorney who makes the stunning choice to work on behalf of the little guy—local farmers in West Virginia—to sue DuPont chemical company, the kind of company his law firm usually defends. In Haynes’s hands—with the help of actors like Mark Ruffalo (who plays Bilott), Anne Hathaway, Tim Robbins, Bill Pullman, Bill Camp, and Mare Winningham —this legal and political drama becomes a more pointed examination of class difference, social ties, and the intricacies of domestic life. It becomes a Todd Haynes movie, in other words, despite being of a genre Haynes has never explored before. I recently spoke with Haynes to discuss the origins of this project, the challenge of making a film more quickly than he ever has before, and why his body of work this decade has so much variety. Right now, critics are in the middle of thinking about the decade in movies. So I've been thinking about your decade: from HBO’s Mildred Pierce, to Carol, to Wonderstruck, to Dark Waters. You've been changing it up quite a bit. Well, one thing that's marked this decade is that I've started to direct movies that I didn't write and develop myself. That's been an amazing experience for me. It's crowded up and diversified the process of filmmaking, but also it surprised me, and it's alerted me to different modes of practice. And then in other ways, it makes me think, wow, every time I write my own script, it’s almost—not discardable, but it's the blueprint. It's the thing you use to make the movie. One has to know and remember that what you end up shooting is going to shock the bejesus out of you, because it's not going to be what you pictured, whether you wrote the script or not. What you start to cut is going to change and shift. It's this constant; you have to keep discarding. Maybe in some ways, that's something that also happens through a career—that I feel like I do something, immerse myself in it, open myself up to learning fresh about the medium through that particular genre or story or setting or period of history. Then, it's out of my system, and I can then humble myself in front of the next thing. I've talked to some of the most extraordinary people I've worked with who say, “I always feel like I've never done it before when I start something new. ” You don't feel more equipped. You feel naked. If you didn't, then why do it? In a way, if it's not going to test you, challenge you, make you rethink things—that really is a goal. That is a goal. How did Dark Waters challenge you? Because it feels adventurous in the sense that it diverges from the stories about queer people and women that have defined your career, but on the other hand, it’s still very much interested in characters’ interiors and social environments, to say nothing of intimacy. Yeah—and isolation and space and class in a really, really distinct way. That really attracted me to the story, among other things. Well, no—on the one hand, I saw through lines, and on the other hand, I was doing something very different. To me, it was really like, Wow, what is it about these movies? What is it that I love so much about movies like this? Because I do. Mark [Ruffalo] wouldn't have known when he sent me this script that I could watch All the President's Men on a weekly basis and feel like I'm seeing something new each time or that I'm learning something each time. Even that, as I say it, I wonder, Is that really it? It's something about watching a process unfold—because we all know the end. We all know the story. We knew the story when it first came out. You don't watch these films necessarily to learn even the astonishing things that Rob Bilott uncovers in this movie. Most people are going to know that even going in. How does he find that story? What does it do to him to find it? How does it change the way he sees the world? How does it change his relationship to the safety of his own vocation, family life, community? There's this weird sense of peril that hangs over these kinds of films that you feel even like when you know the movie as well as I do with All the President's Men, there's a feeling like it all could fall apart. There's a futility that hangs over their endeavor. You know that's not going to happen, but I don't know what it is. Watching a process as carefully tracked and closely depicted as it is, I find it to be some weird primer for how to live and how to put things together. I think that's what it is. It's about constructing something. You're really watching it happen in front of you. That’s what I love about these movies. I am moved by the ones where you feel the cost of what it means to stand up to power and systems of power. You feel the loneliness of that. These are all true stories, and Rob's story absolutely fulfilled that. That’s exactly what interested me about the project. So many of your films are interested in social class or, if not explicitly about it, just really attuned to it. Even knowing that, I was surprised that it plays such a deep role in the psychological portrait of this particular story. I’m saying this as someone who moved from a lower income background to an improved class status—your film felt very right to me about standing up to power specifically in an environment that makes you feel like a class imposter. There's that really delicate, fraught stratification even just within [Bilott’s] law firm, and where he stands, and what his pedigree was, his background, his resumé compared to those around him, and how vulnerable—how destabilizing that is in a world of status, in a culture of status where that really matters. [His colleagues] would call him “the grinder and not the finder. ” The “finder” partners are the ones out schmoozing and going to a party and sitting with new clients. The “grinders” are the ones who are doing the hard work in the back room and don't want to come out for the party. Never once in the entire course of this story did Tom Terp [Bilott’s boss, played by Tim Robbins in the film], invite Rob out even for a drink. I still find that so astonishing. Even just as a fucking fake gesture. I don't think Rob would have really wanted to go out for a drink with Tom Terp, but he wanted to be asked. But, look—Terp has to be commended for the risks that he took to lead this law firm in this direction and risk his reputation. Sure. Rob would rather be home watching Adult Swim with his babies in his lap, and be home with Sarah [his wife, played by Anne Hathaway]. There’s the ways people needed to join together in this story to fight the fight that they undergo with DuPont—but there’s also the ways they splinter off back into their respective worlds. Parkersburg is a small town, but the lines are drawn and these people are risking crossing those lines and paying the consequences. Everybody feels it respectively. I'm sure Tom Terp suffered the ambiguity of leading this law firm where it went and what that meant to other firms and their clients within the town. I wondered about your research process. Did you go and speak with people in Ohio and Parkersburg? Oh yeah. I received the first draft of the script, which I think showed everybody involved that there's probably a way to make this into a movie. It happened very, very quickly, the first draft by Matthew Carnahan came to me in 2017. The article only appeared in 2016. They were moving fast on this. There was a window of time Mark wanted and was available to do it, and I couldn't meet it. I had other things I was developing at the time that I needed to attend to. It wasn't until the next year that they came back and said we'd still love you to do this. All of a sudden, a different schedule emerged that the both of us could meet, but Matthew was busy. Matthew was directing a film of his own. Mark and I talked about the script right away. We both felt it could plumb deeper into the story and into the hardship that these characters underwent. When I came back, when it seemed like this could happen, I brought on a writer, Mario Correa. That's when I went to Parkersburg and Cincinnati. We met Mark Ruffalo in Cincinnati with Rob Bilott, Mario and I, and he introduced his family. Rob was extremely open. I kept hearing about how guarded this guy is and how restrained he is and how you have to lure him out. I found him lovely to be with and forthcoming and honest and open. He said, "Parts of this process were the loneliest things I've ever encountered in my life. I was scared for my life. It took a toll on our marriage. This was really hard on Sarah. " He really, really shared what it was like, as did Sarah. Mario wrote a script based on all of that literally within two months. Wow. We were in production by the end of that same year, and we were shooting this film January of this year. Can you believe that? It still blows my mind. It's really fast. I'm interested in that fastness—it reminds me of Steven Spielberg's The Post, about the Washington Post’s acquisition of the Pentagon Papers. That was a very quickly made, politically charged, topical movie. Steven Soderbergh has also been doing quick turnaround movies about class and politics, like The Laundromat and High Flying Bird, both released this year. From where I’m sitting, it feels like these stories have a lot of momentum right now. Have you noticed the same? Yeah. I agreed with and felt absolutely in concert with the drive to get a movie like this out, the relevance of it, the burning relevance of it, especially heading so quickly into an election year. How it's an ongoing story. But I wanted to make sure we were ready and that we were prepared. I've never made a movie this quickly. How does the speed change things for you, on the filmmaking end? It's not my preferred method, but we just went there. And we went to these places and we surrounded ourselves with these people, and we just sucked everything out that we could from their stories and their experiences in their homes, in their living rooms, the documents that each of them hung on to through the course of the story. We shot in the law firm itself in Downtown Cincinnati and we shot in the Netherland Hilton, where they really had these annual black tie events. We shot at the Queen City Club, where Victor Garber was first introduced and makes the speech praising DuPont. We were right inside all of this. It was pretty insane because it puts you in the visual landscape and the spatial landscape. Space is a really important part of these kinds of movies, the sense of individuals alienated within corporate spaces, public spaces, domestic spaces. That became apparent and literalized by the story itself, where he's literally walled in by the boxes of discovery that he finally shakes loose from DuPont. I'm glad that you mentioned the visual landscape, because something I always wonder about you is what your visual approach to the material will be—you're very careful. This genre of thriller, about people working within and against the system, could look like any number of things. Michael Mann’s whistleblower movie The Insider looks a certain way. Erin Brockovich is completely its own thing. How realistic or rugged or whatever they are can vary, right? Oh yeah, it definitely was a very specific and deliberate decision. I love The Insider. It's a beautiful, muscular, stylistic, impressive, very dark film with these really bright kicks of light almost in every scene. It has that moving, shifting camera and that indiscriminate focal range that keeps you in a myopic internal space with the characters, which made utter sense for the parallel subjectivities of the Al Pacino character and the Russell Crowe character. Whereas that aggressive subjectivity was not appropriate in my mind for a movie like [ Dark Waters]. It needed to have an emotionally cooler palette and a more observant camera, a more formal visual landscape. Of course, [ The Godfather cinematographer] Gordon Willis became my tutor through the process of preparing for the movie. Literally as I shot the movie, I was just revisiting film after film of Gordon Willis' cinematography, which are tutorials in elegance and in resistance and in constraint and in thinking about the viewer and handing the viewer this sense of faith or belief. This certainly comes out of the sensibility of '70s American filmmaking, where there was a dialogue between incredibly bold and smart cinema and an audience that was there to receive it and could interpret what was being told to them, rather than it being shoved down their throat. There was a sense of understanding about corruption, and that we could revisit even generic forms like the gangster movie or detective genre in Chinatown. Of course, there’s also the Pakula movies, which are to me the cornerstone for what I was looking at in this movie—spaces are so precisely depicted in The Parallax View and President's Men. That restraint and that objectivity was Rob. It's the way he approached the story. He didn't have an expected outcome in mind. It's not who he was. He was suspicious and guarded and hesitant in a way to get into this. It also allowed us the mobility to move from Rob's experience in one place to other places, and to really establish that network of different people in different places on the economic spectrum. It stands out to me that your work is so full of movie stars—something it has in common with the films you’re talking about. What was it like to, first of all, wrangle people of this stature into something that was happening so quickly? And then to work with them—for example Tim Robbins, who gives such interior to his character despite a role that doesn’t make that stuff explicit. How do you keep landing such rich performances? Well, planning it took belief in why it should be done quickly and how relevant the story was, and an interest in the real people they were playing, which all of the actors demonstrated. Bill Pullman would speak to Harry Dietzler constantly. Tim Robbins would talk to Tom Terp on Skype regularly. Anne Hathaway would hang out with Sarah, used her jewelry, her clothes, kept going back to the house, talked about Catholicism. [Hathaway] was raised as a Catholic herself. They have a difference of opinion about their politics. Anne was very forthcoming and honest about it, but Sarah loved this. She opened up. She trusted Anne. These guys treated this a serious endeavor and they wanted to respect the sources, but they also understood that they're part of an ensemble and I think took pride in that as well. I love how beautifully they all played off our local actors in Cincinnati—there are so many supporting characters in this movie. I had already sampled that talent pool with Carol and was so impressed with the sense of self that these actors possessed. They weren't intimidated around all of our import actors, and our actors loved that, and they felt so at ease with our local actors. There was this seamlessness with that, and with the extras as well. It was really unique. It didn't feel like the divisions that you often feel in coastal America. That part was really remarkable. Everybody was just so committed to why we were doing the movie and that the world needed to hear about it. Everyone brought their own personal reasons for why: Tim Robbins' activism, Mark Ruffalo's activism. But Anne Hathaway, she wanted to be called Sarah on set. She really entered this world and stayed there. I’d forgotten that she’s known for Method techniques. I don't know. I don't really know how much she applies that from film to film. She just really demonstrated an incredible commitment to doing really serious work and loved Mark. Mark also is just one of the most loving and generous presences. His presence— You can feel it. You can feel it right? You want that to be true because you sense it. I can't overstate how true it is. He creates an atmosphere. He's hard on himself. He's like, “Oh god, I effed that up. I'm so bad. ” He's so lovely to everybody around him and it's just such an incredible quality. He’s the ideal actor to play this guy, in this story, this way. Yeah. He’s nothing like him in temperament, this guy, and Mark turns himself into a pretzel of being blocked up and emotionally unavailable as a character, initially. You almost don't recognize him in his jowly, scowling demeanor in this movie, and then you watch it break and the kind of rage emerges and a despair emerges. He was worried like, is it enough? Is it going to reach the audiences? Is it going to communicate? I was like, it is, Mark. It's like when you hold back, the audience leans in, and this is true to Rob. We kept checking back with Rob who was always around. Mark felt fortified in these decisions because we kept finding it in the actual guy. The reluctant hero is also just someone people relate to. Totally. Because it could be us, the imperfections and the inability to always express yourself. Clearly, in a scene where he implodes in the kitchen, Anne Hathaway really lays in at the end and says, "This is hard on us. Will you talk to me? Will you say something for fuck's sake? " He just turns into a lump. That's how some people are. And we all know that. More Great Stories From Vanity Fair — Our cover story: RuPaul on drag’s future and why true drag will never be mainstream — Learn about Queen Elizabeth’s real-life betrayal inside Buckingham Palace — Doctor Sleep works best when it stops worrying and forgets Stanley Kubrick — The Crown reveals the truth about Charles, Camilla, Anne, and Andrew’s love quadrangle — Why Frozen 2 fails to recapture the magic of the original — Emilia Clarke reveals how she’s had to fight over nude scenes after Game of Thrones — From the Archive: The man to call for fighting studio battles, suppressing scandals, and keeping the tabloids at bay Looking for more? Sign up for our daily Hollywood newsletter and never miss a story. 12 Camera-Ready Gifts for Your Favorite Cinephile Know someone who’d like to translate their love of movies into films of their own? Give the gift of knowledge—specifically, ’s directing MasterClass taught by Martin Scorsese. His first-ever online course gives students the opportunity to learn from one of the best, using 30 online lessons. Buy a single MasterClass for $90.

I voted for this. It's beautiful song with amazing magical videoclip and beautiful woman with strong powerful voice. A criminal investigation of the CEO of DuPont was dropped in 2006. We can go back to Plum Island NY 1992 a decontamination site restricted from public use. Further back to Love Canal NY 1978 a decontamination site restricted from public use. Forty years of the same pattern of corporate activity I would expect the worst is to follow.

Dark waters watch full length full. We may need to put Mark Ruffalo into protective custody after this movie. Hes been pissing off DuPont for quite a while now. Dark waters watch full length hd. Mark where were you? Mark: still here. In recent decades, particularly since the horror that erupted on 9/11, more than a few dramatic movies have dealt with real-life events and/or social issues in ways that are often so engaging that they supersede most Hollywood blockbusters. Some of the very best deal with the kind of rampant corporate malfeasance that goes on when there are few or no regulations in place to protect the people that these corporations have a tendency to harm with all-too-painful regularity. DARK WATERS is one of those films.
Mark Ruffalo portrays Robert Billott, a Cincinnati-based attorney who is part of a law firm that represents dozens of multi-billion dollar corporations, the biggest not only in America but the world at large as well. But when he hears about a farmer in his own hometown of Parkersburg, West Virginia who has lost nearly two hundred head of cows because they drank from toxically polluted water, he wades into the situation (albeit reluctantly at first) and discovers that one of the companies he has represented in his time, no less than DuPont, is the corporation whose dumping of their toxic waste is responsible for not having only killed livestock, but poisoning and/or severely deforming almost everybody there in Parkersburg, nearly seventy thousand in all. Combing through documents dating all the way back to the 1970s, he learns that some of this poisoning may be connected to a very well-known product, that DuPont created back in the early 1960s (everyone will know all too well what the name of that product is) and is in practically everything in every home in the United States, including pots and pans. The toll it took on him and his family, including the relationship with his wife (portrayed by Anne Hathaway) was almost too much for him (he ended up in the hospital for a time) but he kept on fighting for the people in his town, getting blood samples from everyone tested to be used as evidence of DuPont's corporate malfeasance, which virtually bordered on corporate homicide.
Based on Nathaniel Rich's article "The Lawyer Who Became DuPont's Worst Nightmare" that appeared in the New York Times Magazine in 2016, DARK WATERS is quite well directed by Todd Haynes (I'M NOT THERE; WONDERSTRUCK) and co-written by Matthew Michael Carnahan (LIONS FOR LAMBS; DEEPWATER HORIZON. Ruffalo, who portrayed one of the Boston Globe reporters in the much-acclaimed 2015 drama SPOTLIGHT, ably portrays Billott in a way that gives us a glimpse into his way of thinking that, just by having represented DuPont in his time, he himself may have been somewhat responsible for the years-long poisoning of his own hometown, even if only indirectly. The atmosphere conjured up by Haynes is not too dissimilar to what we saw in ALL THE PRESIDENT'S MEN, SPOTLIGHT, or THE POST, one that is decidedly sinister, shadowy and arguably corrupting. Tim Robbins, well known for his highly liberal political beliefs, does a good job of playing Ruffalo's partner in the firm, who is initially extremely reluctant to take his side but then does when the facts about DuPont become too big to ignore. Mare Winningham is also good as one of Parkersburg's many residents who have to face what the town's biggest employer has been doing to then for decades.
While it may seem all too common for movies to take what may seem like potshots at multi-billion dollar conglomerates, when they do the wrong thing (which seems to happen all too frequently, as it did with DuPont) then those wrongs have to have a light shone on them. This is what DARK WATERS does; and as a result, it was one of the best films released in 2019.

Really interesting and scary movie. Was alot more interesting than I thought it might be... and really kept things interesting all the way though the film. Strong story and really great characters. Dark waters watch full length hair. We need a DARK WATERS PODCAST! 😁. Yo mark i'm poor. i heard you wanted to give away your millions. 🤪. Dark waters watch full length episode. Never trust a huge chemical corporation. I'm here for any Mark Ruffalo true story movie 1st spotlight now this. Great story and extremely well told. Awesome Job. Reeling up cod that fast you might as well keep em. They're pretty much dead after a 200 foot journey. Bill Camp and Mark Ruffalo in Dark Waters When the first trailer for Todd Haynes’s Dark Waters  dropped, reactions were unprecedentedly tepid: what was this anonymous-looking crusading lawyer thriller? Was this really a recognizable Todd Haynes movie or, for the first time, a feature-length paycheck gig? From the get-go of the now-released film, Haynes and longtime DP Ed Lachman are certainly operating in their distinctive visual language, shooting, as with Carol, in Cincinnati, playing itself this time rather than period NYC. In the 1975-set prologue, a group of night skinny-dippers dive into local waters adjacent to a DuPont plant only to be chased off by company patrol. The camera bobs and weaves just under the lake’s surface, raising connotations of another archetypal image of 1975: this time, the camera isn’t the shark but the water itself, a toxin-clogged reservoir waiting to poison everyone in town. The script, credited to Matthew Michael Carnahan and Mario Correa, is not the best — survivable, not debilitating — but Haynes directs circles around it. Anyone familiar with Haynes’s visual style will certainly ID this as his work: the zoom lenses, slow and ominous pans through small interiors, et al. are entirely in keeping with precedent. Still, I’m mindful that directors often ding critics for overreading their work, ascribing intentions and reference points that had nothing with production realities or anyone’s thought process. If we’re being honest, I’m often inclined to agree with that directorial critique — but with Dark Waters, so many connections were raised in my head while watching that I have to roll with it. Mark Ruffalo plays Rob Billott, a Cincinnati-residing chemical company defense attorney who, in 1998, was drawn back to his small hometown of Parkersburg, West Virginia. His grandmother’s neighbor, Wilbur Tennant (Bill Camp), was convinced that there had to be a connection between long-standing Good Corporate Neighbor DuPont and the fact that his livestock were dying en masse after decades of peaceful pasturing. Billott agreed to take on the case and found himself slowly sorting through inordinate amounts of paperwork obtained during the discovery process. Once he’d gone through it all, the conclusion was sad but not particularly surprising: taking advantage of industry self-regulation in terms of which substances to disclose as toxic or not (a decision left by lax regulation to the companies themselves), DuPont had deliberately dumped PFOA-8, a chemical they knew to be toxic (but not reported as such to the FDA) into local land for decades, poisoning many animals and people to death. The implications inevitably reached further: PFOA-8 was key for manufacturing Teflon, leading to mid-aughts hysteria about potential widespread poisoning via non-stick cookware. None of this corporate malfeasance is particularly surprising, and the plot unfolds along fairly familiar lines: man vs behemoth, the awakening of long-dormant conscience, a fight for justice and so on. What is surprising is that Billott and his firm, Taft Law, stayed more or less on the same page throughout: they genuinely couldn’t believe that a massive corporate client (albeit one that wasn’t theirs) would deliberately and cynically lie, endangering mass health for temporary profit. Once they realized this was true, Billott had Taft’s support: since they believed the System basically worked, if there was a truly bad actor involved it was important to take action, lest people lose faith in the entire corporate capitalist enterprise. This is kind of hard to believe, but I suppose it’s true, and it’s the kind of gullibility I can only say isn’t surprising from a group of white men insulated by wealth who probably didn’t want to think too hard about any of their industry’s ethics but were, unexpectedly, compelled to. The connection with Safe is obvious: what if Julianne Moore were right and literally everything was poisoning her? The casting of Mark Ruffalo works on two levels, riffing on his oft-expressed liberal political concerns while also resonating with his casting in Zodiac: here, he’s the one conducting a labyrinthine, potentially never-ending investigation rather than merely receiving occasional updates about it from the only other person on the case. (More meta-casting: Tim Robbins, another similarly outspoken liberal, and one who often revels in playing against his image by embodying various slimy master-of-the-world types, is here as Billott’s boss, Tom Terp, who moves from skepticism to full support. ) The third reference point is, perhaps, the saddest: Dark Waters kicks off in 1998, the year of the release of the other big true-story dramatization about an attorney filing a lawsuit against a company that deliberately and cynically poisoned a town’s water supply with full confidence nothing would ever come from their actions. A Civil Action ’s timeline kicked off in the ’80s; we are now even further from 1998 than that film was from the starting date of the actions it depicts, and assuredly things have gotten (and will only continue to get) worse.  The day I saw  Dark Waters was no exception: that morning, Boeing CEO Dennis Muilenburg appeared before Congress to testify about the crash of two 737 MAX planes that killed 346 passengers and crew, in part because of a defective “anti-stall” component that wasn’t reported to regulators (themselves too close to the company) despite the company knowing there were problems. Muilenberg’s mea culpa was, at least, startlingly direct as to the limits of corporate responsibility: “We don’t ‘sell’ safety, that’s not our business model. ” I made one more over-interpretive leap with the film which, in the first two questions and answers below, Haynes effectively rejects — still, I can’t unthink it, and I’ll let it stand for the record.  Dark Waters is out now from Focus Features. Filmmaker:  The night before I saw the movie I went to a Flaherty Seminar screening of shorts, one of which was of a glacier falling apart in 1925. A film scholar, Jennifer Peterson, was reading an essay over it and said: “We should be wary of narratives that center the lives of privileged people who are contending with existential threats for the first time. To cite just one counter example, it’s important to remember that for the indigenous peoples of North America, the apocalypse already came 400 years ago. ” I thought about that while watching your movie, because it seemed like the casting was the opposite of color blind: The placement of people of color almost exclusively in non-speaking roles as service people, which is very conspicuously foregrounded in the framing, and the fact that the one person in the room who objects to taking on this case [lawyer James Ross] is a person of color. In the press kit, the actor, William Jackson Harper, says that his character was seeing it from an ethical POV — that the firm would be going against the interests of the clients they serve. But it struck me that it was possible that he’s not impressed by the fact that all these white people in the room are discovering a conscience for the first time which will endanger his personal bottom line. In the crusading-attorney-versus-whoever subgenre, the protagonist rarely makes the larger intersectional leap from “it’s not just this one thing that’s fucked” to “everything is fucked in the same ways. ” Haynes:  In a way, it’s really about Wilbur Tennant: this farmer, the person with the least cultural impact, hardly a predictable hero to take on the systems of power. Nobody’s set up as an expected challenger of the status quo. They are all in bed, particularly in Cincinnati: these lawyers are people fully ensconced in systems of power and serving the industry as it is, however much you want to say, “Rob believes that there is a kind of idyllic co-existence between regulatory systems and industry, and he’s there just to solve superfund legislation and find that place where good actors can come together on both sides, or represent the needs of regulation and have the self-regulation of industry work. ” All of a sudden, they stumble into something that he was ill-prepared for, as was Tom Terp. I liked how murky every aspect of all of the participants of this network of codependent people are. Particularly when Tom Terp makes that speech at the partners meeting and says, “To hell with them” — many audiences, maybe not in New York, applaud after that speech, like that’s what they’ve been waiting for. Well, the speech is basically a way of saying, “Let’s maintain the integrity of our business culture by inserting a sense of ethics into our criteria, that we have limits. We’re not going to go as far as people think. We actually can say no. ” There’s no simple, clean or unsullied kind of example of standing up, except for what Wilbur Tennant saw from the very beginning in his cows and farm. [He] had a weird sense that there is some kind of justice that’s going to come out — well beyond the cynicism of a Rob Bilott or a Tom Terp, knowing what a force like DuPont is going to throw up at every turn. Wilbur was like, “People are going to find out about this. ” And he was right. They did. But what we don’t have is that scene you expect in these kinds of movies, where the good old Appalachian farmer turns to the lawyer and says, “Thank you, Robbie, for everything you’ve done for us, ” and we, the middle-class white audience can all feel happy and redeemed that Rob got approval. It doesn’t happen in this movie because it didn’t happen to Wilbur Tennant. He didn’t live to see it. Filmmaker:  So was I way off base about the racial elements? It sounds like you’re saying that that wasn’t really on your mind. Haynes:  Well, I’m sorry. I was diverting it more to a description of class, I guess, than of race. Look, there were no black partners at Taft. That was the liberty we took. I thought there would be soon after the bracket of these years we’re looking at at Taft, and women partners. We imagined this guy worked really, really hard his entire life and got a great law degree at Harvard or Yale. Maybe he was the first one out of his family to do so. He ends up at a prestigious white-shoe law firm in the Midwest, and there are very few African Americans living in Cincinnati — well, that’s not true. There are plenty of them, but none of them working at Taft Law, and that area [where they are based] had not been refurbished. Now it’s the trendy part of the city. Filmmaker:   A lot of this decade of work for you has involved a scaling-up element. The New Yorker profile that just came out mentions that this was your first time actually doing development with a studio. Haynes:  It’s really just been three examples: HBO with Mildred Pierce, Amazon with Wonderstruck and Participant with this. But, this is the first time I entered into a relationship with a studio that was developing [a script] themselves and brought it to me. That said, the first draft of the script, I felt, was early and fast. By the time I was able to even think that I could do this movie, Matthew, the first writer, was busy making a movie of his own, so it was an opportunity for me to bring in a new writer, start a little fresh, go to Cincinnati and West Virginia, meet all these people firsthand and begin fresh research on the project. It was all happening very, very quickly when I came on, and we started way more from scratch than we expected. I didn’t write it, but [the draft] came out of the discussions that we had really fast, within a couple of months of the first visit. But it’s hard, and there are still limits to financing and schedule imposed from studios. This was not one of the biggest budgets I worked with; [it was] probably the smallest of those examples. I was getting to know a new company that had just had a departure of a central figure, Jonathan King. I think they were figuring out how to fill that gap. But, since we were so rooted in Cincinnati and the real people involved in this story, there was a nice way to escape and find our own way through it. It was a city I’d worked in before and enjoyed working in, but this was a story about that city itself. So, in all those ways, I felt I could focus. It was just, as I keep saying, a fast go. We really only started that research in June of 2018 with Mario, then a script emerged a couple of months later. That’s July. We were in pre-production by fall of 2018. We were shooting by January of 2019, and now the movie is coming out in a week. Filmmaker:  In one of the first conference room shots, you’re tracking left to right very slowly, and it creates this thing with the hanging shades— Haynes:  Strobing, almost, yeah. Filmmaker:  Conference room shots are hard because they’re boring, and that’s a nice touch. Did you find that on set? Haynes:  Yeah, we found that on the premises. The architectural elements we shot in Taft Lofts. We built the conference room and Rob’s office. We found a gutted floor, like 10 floors above the actual Taft offices, which was like a miracle. It was like having a soundstage that looked out onto the same skyline, that had the same jagged right angle façade of the building, the same weirdly dissimilar window sizes. Those triangular rooms had the frosted glass striped partitions, that had little window strips at the top of floating walls which broke corridors. Sometimes it’s hard to actually read it in the movie, but with these 45 degree angles, there were no 90 degree walkways in much of this place. You turn around in a revolution and see five different angles coming at you. So, there’s this labyrinthian thing going on, and it created surprising pockets of really dark shadow and then shafts of light coming from windows, and a sense of never being able to see around the corner. That was true even through the views of the skyline itself, where buildings in the way would block and reveal glimpses of the Ohio River. Filmmaker: You’re really attentive to the way that light goes through windows and works in interiors. Something that’s driving me crazy right now is watching digitally-shot stuff where nobody sculpts the light coming through the windows. It’s all white heat, it’s nothing. Haynes:  Oh, I know. There are a lot of driving scenes in this movie, and we were shooting through winter and thinking, “Oh god, the movie takes place through all these different seasons through all these different years. ” People were starting to say, “You really should do it digitally. It’s the best way to shoot car scenes. ” For literally, like, a second, Ed and I considered it and talked to some digital guy. Jarmusch had just done it [on The Dead Don’t Die], Fonzie [Affonso Gonçalves] had cut [it], and it had problems with the registration of the images that were collected to be placed green screen through the window. We said “fuck it” and shot it all live. You get this unbelievable play of light on faces. Those shots of Rob that we used at the very end of the movie in super tight profile, when he’s hearing the news of the medical monitoring result — we’re at dusk and stayed in extreme close-up. The shadows, the reflections from the outside cutting through, the color on his face and the light hitting him through the windshield, and what was happening behind him was a subtle, muted, gorgeous dance of dusk color. We have so much of it in the movie and it’s really beautiful, so I was so glad we stuck to the real and ended up having the sets that looked out onto the actual skyline. Filmmaker:  You’re making a period film that, for the first time, unfolds during the bulk of your career, from basically Velvet Goldmine to just after to  Mildred Pierce. Haynes:  It’s funny how absent one is from one’s own period of life. I feel like a collector of the specificity and detail of a period that I didn’t live through. I remember talking to my grandparents and saying, “I’m getting really obsessed about the ’40s or ’50s, ” or something and saying, “Was it like that? ” And they’re like, “I don’t know. I don’t remember. ” When you’re in it, you don’t really think about the hairdos and the cut of the clothes. You learn it through the photographs, through the relics that survive of those times. I’m just like, “What was the music people were playing on the radio during this time? ” It’s like fresh research. You were researching even things you live through. And that’s okay, that’s great. That’s what movies are. It’s the limits of what you see that tell you where you are. Filmmaker:  I heard your second-unit crew went and got external shots of DuPont without a permit. Haynes: No, they did have a permit. This was a long, complicated process. Mario and I drove right into the Washington Works parking lot when we were first there and were immediately met with two security guards. They were very intimidating and said, “What are you taking pictures of? Why are you here? ” Also they said, “This is owned by Homeland Security, ” which is such a crock of shit. We had a permit for the road they didn’t leave to shoot from. Our guys got three pans—only one of which was usable for the movie—where we planned it out. We’d gotten the permit for the street. We’d gone to the Mayor of Parkersburg to make sure we did it all right. At one point they were going, “Well, we’ll have to do it in CG. ” And I was like, “No way. This is Washington Works. It’s so specific. It’s right there. You can see it from any side of the road that you’re on, it’s so massive. We have to get the shot. ” So we did.

I'm glad to see Adam Sandler up his game after so many years squeezing out comic lowest-common denominator butt-nuggets. I know Jeremy always says hes JUST a guy watching a movie. But th dude needs to give himself more credit, he sees the important things in movie when most people dont. I saw about a 4ft pike take a bite out of my walleye I had on my stringer. It's a tragedy to say the least, had they had their lights on, the crash could've possibly been avoided. But leaving the scene of the crime was where another serious issue arose. Maybe they did not hear it, maybe they panicked, who knows? What's the fitting punishment in this case? I cannot say without knowing what the other boat drivers knew or did. Was it done under the influence, did they not know what and who exactly they hit, we will never know. I feel sorry for the victims, but maybe had they turned their lights on, this whole accident could have been avoided, who knows.

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