![]() And obviously “ Breathe In” and “ Like Crazy” we keep developing that dynamic and relationship. So I feel that Drake and I have a very easy communication and collaboration. Well, that experience is very different from a more traditional way of making a film it’s improvised. The key is just being truthful to the character.Ĭan you talk about your relationship with director Drake Doremus? I like doing things set in the past but it doesn’t feel like it should be any less relevant or that you should play it in a very different way. I don’t think you can judge anything based on what time it is. So much of it is about the dynamic with the director and that creates another performance again. I think they do demand different styles of performance in you. I saw “The Invisible Woman” around the same time as we saw “Breathe In,” with you toggling between a modern setting and a historically based one. ![]() They weren’t against each other, there was just a sadness and a tragedy to the circumstances they found themselves in. We said both women were intelligent and had a empathy for each other. Well, neither of us wanted that scene to be a bitchy scene in any way. One of the other amazing sequences in this movie is your interaction with Joanna Scanlon when she’s bringing you the necklace. But it was amazing how I thought that the set design was so beautifully done. Yeah that was a boiling hot day and lying on the ground with five petticoats and a huge coat on, face down, was a pretty long day. And all of the costumes and sets play into that. I love in the film how many of the scenes start as a still live and the characters emerge from that still life. And I think those people who worked on the film are incredibly experienced and show meticulous detail and care for what they produce. I met with the set designer very early on and had a strong impression of what the world we were going to be existing in. I think it was all about the communication between all the departments, and Ralph was very encouraging about that. Can you talk about it was like trying to pull off something like that? The movie obviously doesn’t have a big budget movie but looks incredible. We did a lot of rehearsals, we used moments in between scenes on set to run scenes to make sure that the character was embedded inside of me as much as possible. And he cares very deeply about the integrity of an importance. Sometimes you felt like you were being directed by Charles Dickens, which caused us some laughter on set. I found it quite interesting.Ĭan you talk about working with Ralph as an actor and a director and what that dynamic was like? I liked that clear combination of characteristics in someone. I felt like Nelly was someone who was quite reserved but at the same time very willful and very proud. I felt like these women were very protective of each other and a real wariness of outsiders. In the film, I felt like her father’s death was important. In this research can you tell us one that didn’t make it into the movie but you felt was important for your understanding of her? So there was obviously some research but you also use your instinct as well. So it was all about trying to feel and understand and create Nelly. So I went and there was great resource material there. And at the same time there was a Dickens exhibit at the museum of London. So I went to her house in London where she grew up and I visited that house and imagined her there in that house with her sisters and her mother bustling about in their big dresses. So it started with them and spread out from there. It was about understanding … Obviously Claire’s book gives you such an understanding of her background and her theatrical background and the tradition of how this family survived after 50 years in the theater.
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