In multiple films such as Godzilla vs. Kongor Holmes and Watson, actress Rebecca Hall is often a gentle presence and a reassuring face on a much larger canvas. But then there are those else Movies –ChristineAnd the night house and now, Resurrection—Where Hall becomes just an avatar of anxiety. These are characters at risk of being completely immersed in the void, and as an actor you don’t look back, you step in with complete commitment (and snappy wit).
in ResurrectionHall taps into this vein of intense passion to play Margaret, a biotech executive and single mother to a teenage daughter (Grace Kaufman). Everything goes smoothly until a man from a very suspicious previous relationship, David (Tim Roth, Picture of Painless Danger), continues to appear in her life. Margaret tries to resist being drawn back into David’s sadistic web, while maintaining a white fist over her family life.
“She gives all of her characters a real sense of dignity. She is so wonderful,” Andrew Seamans, Director Resurrection, tell me. Their unpredictable movie follows Margaret to the end of her rope, adding a touch of surrealism to the stalker’s next-door story. It’s another victory for Hall, who also wrote and directed last year pass, from the Harlem Collection, 1929 novel by Nella Larsen. Below, she talks about the new film’s deeply anxious appeal, inspiration from Greek mythology and theater, and her character’s seven-minute monologue.
How did you get involved with Resurrection What drew you to his story?
I think it hit me at a very specific moment. You have just drawn [shooting] on me passHowever, no editing or post-production has been done yet. But I didn’t feel like doing something low-key and not too pressured after such an intense experience to get something out? I had the exact opposite reaction. I was like, ‘Well, if I’m going to act, I want it to be as satisfying as this experience I just had.’ So it has to be something big.” You know, the extreme sports acting version [laughs].
What is the most frightening thing in a file Resurrection Personal status?
put it he is So scary…but I also felt the movie had this mythological quality, in the sense of Greek mythology, that examines basic universal human feelings. In this case, it’s anxiety, terror, existential terror, and we’re also dealing with misuse and gaslighting. Greek mythology takes on a range of feelings and, to hold them, creates a strange, allegorical and enormous pot. So Margaret takes on this almost mythical characteristic of a lioness – the absolute mother, the ultimate avenger. It struck me that the level of emotion should justify the ending. So for all the sternness of “I put my life together”, in her heart there is such a huge amount of anger and a feeling of injustice, along with panic – pure, pure panic.
Aside from everything else, these feelings also feel very present in the moment. We are in an unprecedented time of existential anxiety and terror, feeling “how can any of us control what the hell is happening in the world?” I think that’s why the movie got people whipped. It’s not because everyone has had experience in an abusive relationship – although I know many people who have, tragically, have. It’s just an examination of pure emotion, giving you an experience that ends with a kind of satisfying catharsis.
There’s definitely a gritty theatrical quality to the film’s confrontations. I thought of Harold Pinter, or Edward Albee play about the child.
Yes exactly! I have totally thought about it. He. She he is Very theatrical and loud. That was part of what attracted me.
At one point, she’s giving a seven-minute monologue. How did you think through this speech?
I had other experiences on stage, where I had to give huge monologues. I don’t think anything would be as difficult as the one I had to hand over to me, which is this expressive play written in the twenties, because it is probably five minutes of completely unconnected ideas. So I knew how to deal with this. I prepare extensively with respect to all I have to do to imagine that I am the one experiencing what I am facing. But as far as practicing the lines, even how I’m going to say it and how I’m going to sound when I say it, I never do. I really have no idea what I’m going to do until I do that.
When I last interviewed you, you talked about drawing your characters on paper. What does the map look like for Margaret?
It is very large and very dense. I do it for everything. I even did it when I was going out, for all the characters. Margaret looks a little crazy. But it’s a tool that I can’t do without, because I think my most important responsibility to the director is to give a coherent performance, so when you get the edit, you have a chance to have something hold together from A to Z and go on a journey.
There is a real sense of spontaneity moment by moment in this film.
There can be logic to the whole thing – but you just have to jump off the cliff. This is my firm belief.
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