Richard Linklater’s calls his script for “Boyhood” “a contemplation of time.”

It patiently plays with time so one childhood unfurls like flower petals in a time-lapse movie. For Linklater, the existential brink his film presents is mundane and magical: “Growing up, you always feel your true self is right around the corner.”

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“ ‘Boyhood’ is a series of brinks, 12 years of becoming who you are. In the end you’re actually breaking from all you know: You’re leaving home, you’re leaving school. That’s a major watershed moment the film works toward.  But it’s also a collection of intimate moments.”

“It’s different for a kid growing up versus an adult. We realize how brief our time is, how quickly we age. You sit in the theater for two hours-plus and feel so much of a life go by that it can’t help but get you speaking about your own experience.”

“To me, an issue like mortality is always there,” says Linklater. “It’s in that line at the end when the mother cries to her college-bound son, ‘and you know what’s next: my fucking funeral!’ Her son says, ‘Aren’t you jumping ahead 40 years?’ But you can’t deny that we aren’t at the beginning any longer.”