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Jane’s boss, played with frosty verve by Patricia Clarkson, picked her for a reason – she slots right in. Just like Keanu Reeves consorting with the surfer-criminals in Point Break, she gets personally involved with the subjects of her investigation, unsure whether to beat them or join them.When the movie’s thriving on uncertainty, pinning Jane between two camps with equally sinister potential, it has a prickly ingenuity and promise. When it fails, it’s mainly because Marling’s character feels too naive, unaware of the damaging secrets companies might lie about, the retaliatory moves her new friends are willing to make, and the fact that Clarkson couldn’t care less about the victims of these attacks when they’re not paying her to care.The script needed to be cannier, perhaps more cynical, on all of these counts.Come the final act, the best political thrillers don't play nice, after all – they twist the knife.

She wrote and starred in the frustrating sci-fi drama Another Earth and the interesting cult-infiltration thriller Sound of My Voice, whose director, Zal Batmanglij, calls the shots once again here. Unethical corporations face attack from anarchist groups: one, known as ‘The East’, slip dangerous drugs into the champagne glasses of the very executives who’ve put them on the market, or simulate an oil spillage in the ventilation system of a CEO’s Mc Mansion.

We talked about what it’s been like waiting for the film to get released, her writing process, Sci-fi, favorite movies, and a lot more. We’re alive in a really cool time, there’s so many great . How was that writing process different then, say, writing ? Marling: I mean a lot of it’s the same in that the structure is the same and Zal and I are obsessive outliners and that’s the same.

In addition, Marling talked about Steve: So how’re you doing today? As I said to your partner in crime making this film, it has to be a weird thing for you. I think I realized very early on that you can spend a lot of time constructing a really perfect scene in final draft and just end up throwing it away because you didn’t figure out that mathematics of the story first.

The movie premiered at Sundance a year and a few months ago, and I loved it back then, I was like “when is this thing going to come out,” and it’s been a while waiting. And you’re doing icing before you’re making cake and that is frustrating because you have to just throw it out. And lets argue which is better, the theatrical cut or the directors cut.

What’s it been like for you, knowing you made a really great movie, but we need to wait such a long time for audiences to see it? You know, it was intense because Zal and I were working on getting this other film of the ground and so we were actually so occupied doing that that we got a little distracted. Yes, and I think that it should be that everyone put their phone in the basket and the first one to pick it up has to pay the bill. Marling: We should start a Twitter revolution about it, there should be rules. Marling: And nothing is going to happen if you take a break for a second. Let me switch by saying, I ask this of everyone, do you have a favorite movie, a favorite director, and a favorite actor? We really focus on outlining, and the moment you’re ready to write is the moment you know you can walk up to any stranger and start telling the story from the first moment to the last and hold their attention. Marling: [laughs] Oh my God, your knowledge is deep.

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