Oscar winning screenwriter Chris Terrio on Argo.
There were definitely moments where I worried that I wasn’t giving a comprehensive enough version of this moment in history. As American filmmakers, we can never tell a comprehensive story about the plight of people in Iran at that moment, but the film — without ever losing the forward momentum — lingers a bit to remind you that there are all these unresolved stories. I have to credit Ben with all that. Those stories could be scripted, like the Iranian housekeeper plot, or could just be a closeup of people waiting for their visas at the beginning of the film. Those closeups tell all kinds of stories: There’s a woman who’s wearing a mink stole and has put on makeup and is just sitting waiting for a visa. I look at that closeup, and I imagine her whole history — it’s just a two-second shot but I think at every margin of the story there are these little hints of stories that we’re not telling.
Full Deadline interview here.