Entertainment

Easter director Andrew Semans always has a big ending in mind [Interview]

When Rebecca Hall performed monologue In the long run, how was your reaction that day?

The reaction of the group was just ecstasy, because it was a risky business. It’s a scary thing to do and have a long monologue, all in one go, in the middle of a movie. In this case, if it doesn’t work, we’re like dead in the water. There is no recovery from that. Now, by the time we shot that scene, we had been working with Rebecca for a few weeks. We know how incredible she is, so I think pretty highly that she’ll do well for the monologue.

We shot the first scene, and I think within 10 seconds of her giving the monologue, I was on the moon. I was like, “She got it. She’s locked in. It’s going to be extraordinary.” She tried it once and it was great. Then we did one more shoot and it was equally amazing, albeit a little different because Rebecca always does different things with takeout, which is awesome. We’ve done it twice and that’s it. We were like, “We get it.”

Did you use a take or two for the movie?

We used take two. I would say that getting one is equally good, just slightly different. We went back and forth, but we used two.

What is the subtle difference in her performance between both turns?

I think the reason we chose to take two, more than anything else, is that it’s just better for the camera. But the difference is that the first shot is a little looser, it’s a little longer, and it has a little more anger in it, I feel. That’s what I discovered, that there was a little more anger in her voice and in her description of this past experience.

The second time, for me, it felt like there was more tragedy, there was more sense of loss. We eventually got to the second scene, but like I said, I think the movie will – and the scene will – be equally satisfying, equally enjoyable to either. She doesn’t drop a line either way.

What effect do you want such a long time to have on the audience?

I think dropping something like that would be a very bad idea. I think it’s going to take the audience out there. It will hurt performance or feel like we’ve cut back when it’s not needed.

The whole idea of ​​that monologue was that we were trying to impersonate her memory. We’re trying to focus specifically on her experience in the past, and she’s coming back to that experience. It only needs to be in this one time only.

It’s just a person talking. It’s kind of theatrical, but we wanted it to be immersive. For that to be truly immersive, I think we had to focus precisely on her face, her performance. Otherwise, people might have gotten restless, distracted, so we had to focus the laser on what she was doing.

It was great to enjoy the show. Sometimes it can be frustrating to watch a great performance, then the camera cuts away.

Right. Sometimes, of course, you have to cut out for one reason or another, or maybe you want to stick with someone else that delivers great performance, so you cut out. But yeah, I hate that feeling when I’m watching something and I’m seeing a really interesting moment, and then it feels like an unnecessary cut-off. And it’s deflated. In the script, at a certain point we removed them. I wrote it in a flashback, monologue, but it was just to cover myself up because I was worried that people reading would mock the monologue. And now, looking back, if we included flashbacks, it was horrible. That would be a disaster.

What are the specific flashbacks?

Just reminiscing about the images, the moments, from the experience she was describing. We never even shot them. It’s something that we, especially after filming the monologue, obviously wouldn’t be relevant and we wouldn’t use them.

https://www.slashfilm.com/948160/resurrection-director-andrew-semans-always-had-that-big-ending-in-mind-interview/ Easter director Andrew Semans always has a big ending in mind [Interview]

Fry Electronics Team

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