The interview clips that appear around a film or series release mostly come from a single compressed day of work. The format explains why so many of them sound alike.
The structure is a rotation, not a series of interviews
Talent sits in a room while journalists cycle through in short slots, often only a few minutes each. A publicist keeps time and moves people on when the slot ends.
Dozens of outlets can be served in a day this way, which is the point. Travelling to individual interviews would take weeks and would not fit a promotional window.
Each outlet leaves with footage that looks exclusive because it was recorded separately, even though the same questions were asked before and after in the same room.
The short slot determines the questions
A few minutes allows perhaps three questions, and a journalist who wants a usable clip will ask something that produces a self-contained answer.
That pushes everyone towards the same territory, which is why the same handful of topics recur across every interview from a given release.
Answers become rehearsed by repetition
Performers answering the same question for the twentieth time in a day converge on a version that works, and that version then appears everywhere.
What reads as insincerity is often just efficiency, since an answer refined through repetition is clearer and shorter than the first attempt was.
It also explains the visible fatigue in later clips, since the rotation runs for hours with minimal breaks and the final slots are conducted after a long day.
Restrictions are agreed in advance
Access is granted on conditions, which can include agreed topics, a fixed duration and rules about how footage may be used or when it may be published.
Outlets that break those conditions risk losing access to future junkets, which is a meaningful sanction for publications that depend on entertainment coverage.
Formats have changed to escape the sameness
Because standard junket footage is interchangeable, outlets began building segments with a gimmick attached, since a distinctive format produces clips that circulate on their own.
Those segments are still recorded inside the same rotation with the same time limits, but the structure gives an interviewer something the next outlet will not have.
Remote video interviews have extended the model further, removing travel entirely and allowing a rotation to run across time zones in a single sitting.