Murray: I can't remember who, but someone sent me the script, and I opened the script and it said, "Written by Caroline Thompson." And Caroline Thompson's a writer that I met, mmmm, a long time ago, when I first went to California and my agent sent me around to meet other writers. We went out to a bar that was a ... that was a diner during the day on Lincoln Avenue. At night it became a Mexican horn bar. It was like a full orchestra with, like, six horns, and the temperature was about 130 degrees. And all people did was drink rum straight and dance. And I thought, "I could work with this writer." But I never saw her again. Never saw her again. She's written some great films. I mean, I can't name them, but Beetlejuice and a number of others. So I went, "Caroline Thompson. Wait, is that the one?" And it was the one. So I got her number and I called her, and she was on a horse. She was a horseback somewhere in the valley riding a horse. And she said, "Oh, you're gonna love this director, this Gil Kenan. You're gonna like him." So then I figured out who he was and I saw Monster House, which I'd already seen some of already on the satellite. And I figured this guy's good enough to work with ... my rugged standard. So that was that.

Robbins: I didn't really particularly think of it as a message thing. It was, for me, it was more about that spirit of the human being that finds a way to survive in the midst of the direst circumstances. And what I liked about this script, with these two young characters, it had this idea that there are some people that can still hold hope when others aren't, and that if they believe in it enough, anything is possible. And when I met Gil I came to quickly realize that he was not gonna fall into the traps of the movie, which would be that kind of darkness and nihilism and all that. And he had a real super positive energy. I felt like he was gonna make a movie that accentuated the human spirit of these two main characters.

Ronan: Does that mean it's my turn as well?

Robbins: That means it's your turn, sure.

Ronan: I was sent the script as well, and my dad put me on tape. And it was sent over to Gil, who was touring around London at the time trying to look for Lina and Doon. We sent it over to him, and then I went over and I met Gil. And we immediately clicked. And then I got a call like a week later to say that I had gotten the part. Of course, I was thrilled. And I think basically what Tim and Bill said is how I feel about the script. But I don't think it's really got an awful lot to do with environmental issues. I suppose if you read into it, it would, but it's basically about the hope that the people of Ember have and the belief that there is a way out and there's more to it than just this.Bill, was the pot belly on the Mayor your idea?

Murray: What's that supposed to mean? Well, he's the only one that's eating three squares in the whole town. So it's, you know, he'd be the only one that would be putting on any kind of weight in that town, anyone holding any kind of full figure in the whole city.How did you all enjoy filming in Ireland?

Ronan: It was great for me to work in Ireland, being an Irish person, being around an Irish crew, who, I thought, were second to none. I thought they were fantastic and very, very professional. And it was just really nice to go somewhere that you already knew, you know?

Murray: As far as Ireland goes, what Saoirse says is correct. The crews were amazingly professional and devoted to the work, and the extras were unlike any extras I've ever worked with anywhere in the world. They were so completely devoted to the scene and to being in the scene. It was so helpful. I mean, you know, people say, "Oh, I brought this costume designer with me along to the next movie." But, you know, you'd almost think about bringing those extras along. They were that good. They were very proud of their work. And I respected them a lot.Bill, you've played good guys and bad guys. Which comes more easily for you?

Murray: It's so much easier to be a bad guy. It's a piece a cake. It's a joke. And, you know, it's ... I keep saying, "Why do they give Oscars to guys that play bad guys?" because it's so simple. Play a good guy some time. That's hard. Play a really decent, good person. That's hard.Bill, if you'll indulge a question about Ghostbusters, two of the writers from the American version of The Office were just brought on to write a script for Ghostbusters 3. How willing would you be to reprise your role as Venkman?

Murray: I don't ... it's not like I have any obligation to the franchise or anyone. If the script were good and I thought we could do it, it'd be fun. But, you know, it's only now that this has ever been a prospect. No one's ever talked about it for a long time, because the second one was the way it was. This is just ... it's kind of a clever idea. I think they see that ... and the fact that every interview today has asked me about the Ghostbusters movie ... every single person ... means that there is some interest for it.

Robbins: Me, too. They asked me about that, too.

Murray: So you think you're talking about the City of Ember, but I've answered as many questions about Ghostbusters as I have about—well, not as many, but, I mean, on every single one. So there's interest in it. And if it's funny, it's funny. [He looks at Ronan.] I'm boring you to tears. But it's ...

Ronan: Yeah.

Murray: ... it's a movie. I'll show you ... I'll get you a copy.Jeanne DuPrau wrote two sequels and a prequel to City of Ember. If this movie does well, what are your thoughts on returning for a second adventure?

Ronan: I asked Gil when we were on set whether we were going to do a sequel or not, and he said, "Get all of your friends to go and see it and then we'll see." So, I think it's just basically how this one goes, and then we'll see.