ComingSoon Editor-in-Chief Tyler Treese talks Resurrection The thriller is about director Andrew Simmons, starring Tim Roth and Rebecca Hall. It’s on demand in theaters on July 29 and digital on August 5. Shudder will be an exclusive streaming home in November 2022.
“Margaret’s life is in order. She is capable, disciplined and successful. Soon, her teenage daughter, raised by Margaret alone, is about to go to a good university, as Margaret had hoped. Everything under control is,” the summary says. “That is, he carries with him the horrors of Margaret’s past, until David returns.”
This is your second feature after Tyler Trees: 2012’s Nancy, Please. What is the biggest lesson you learned from that initial effort that you were able to apply here?
Andrew Semens: Sometimes I feel like I didn’t learn a lesson, and in this new film I had to re-learn everything. I think time management is more important than what I learned in my first film. When you make a low-budget, independent film, I mean the budget for Resurrection was bigger than nancy please, But when you make a low-budget, independent film, that’s all the time is of the essence, and making good use of it. The limited time you have in both pre-production and production is so important because it… I mean, timing is everything. It’s all about finding time to do what you need to do, and I don’t know if I’ve learned good time management, but I learned about the importance of trying to prepare for a narrow window in which to do my work. learned to
Rebecca Hall gives such a great performance in this film. When casting for the role of Margaret, what was really special about Rebecca and made it clear that she was the right actress for the role?
Well, I’m a big fan. So that was first and foremost. I think she is an absolutely wonderful actress. I think she is as good as any other actress working today. So the fact that she’s so brilliant was, of course, a major consideration. And one thing I particularly liked about Rebecca for this role is that Rebecca just so, no matter what she plays, brings on just a vivid sense of intelligence, probably because She is such an intelligent person who plays every role. , and she finds a way, no matter what she’s doing, to bring a sense of dignity to her characters. You can’t help but respect her, you can’t help but admire her, she’s formidable in everything she does. And I think we did absolutely something in this character and did something like that.
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Tyler Trees: The movie has a long monologue, which works great, and is quite a confident choice. We don’t really see a lot of monologues, maybe it’s because of the shrinking attention span, but that scene choice and filming that scene talk me through.
Yes. Picking that, I was really excited by the idea. I love monologues in movies. This is something you don’t see very much. You see it in theaters all the time, but long monologues don’t happen very much in movies. I think people are worried that the audience will get bored, or that it’s not cinematic or something, but I feel like when they work, it’s something that I just enjoy. And so I like the idea of revealing this character’s backstory rather than integrating it into little bits and pieces, but in this one big gist, and it was something that was pretty scary, because when you had seven or eight If there are minutes, take uninterrupted solo- monologues in a movie. If it doesn’t work, the movie is dead. I mean, no one is recovering from it.
So it was something that was scary at first, but after working with Rebecca for the first day or two, it was clear that she was so brilliant, and there was such a command over the material that until we got to shoot it. Meet, I think everyone was confident that she was going to achieve this. And we were absolutely right. She came in, we did it twice, she did it twice, and both takes were fantastic. And that was it. So I guess it was a gamble that paid off.
Rebecca’s character in the movie is going through a lot of stress, and you do a really good job of portraying that sense of paranoia throughout. Can you talk to me about your choice and try to capture it with different camera angles?
Yes, it was difficult. It was always something we were trying to balance because the way we photographed the film was in a very minimal, stripped-down extravaganza style. And we wanted to maintain that sense of naturalism, even as it takes to last in the world of film as it happens in these very typical environments and apartments and department stores and offices and hotel rooms. And we wanted to keep that feeling, like an earthly, very familiar world. But at the same time, we wanted to fill that world with a sense of paranoia, a sense of danger, and a sense of danger. So it was always a balancing act where we were thinking, OK, how can we project the feeling of paranoia and do it in a way that feels subtle, that’s not knocking on the audience’s head. So it was just a million small decisions to try and steer it in that direction, but not go overboard. It is something that we have really allowed ourselves great freedom with the sound design, that the sound design in this film is far more expressive, and is far more subjective than the photographic approach, which feels more “objective”. . There was no big plan. It was about trying to figure out at any given moment how we can retain the things we want to maintain and suggest a sense of heightened danger.
Tim Roth is brilliant in the film as well. Can you talk about his performance and just get that ghostly nature out of him?
Yeah, I think what Tim wanted to do, and I wanted to do, was he liked the idea that people who are bad, people who are deadly narcissists or manipulatives, sociopaths, people who do really bad things. are, almost never imagine themselves as evil. They think they are heroes. They feel that they are the heroes in their stories. And generally, they seem to be doing the right thing. How they get there always varies greatly from person to person, but he didn’t want to play this character as a bad guy, necessarily.
He felt that the character was like a hero in his own story. He was a romantic hero. He felt that he was doing the right thing for Margaret, doing the right thing for himself. So he wanted to play it, not as someone who was getting out of danger, but as someone who felt like they were doing the right thing, to play that guy as a normal person. wanted, and he thought it would be more creepy and feel more truthful, and I agreed, and that’s how he went about it. So, he’s someone who’s kind of a low-key villain throughout the movie, but I think that makes it all the more effective. I think it makes it scary.
You have shown a real knack for psychological thrillers. What is it about this style that you find so interesting?
I really don’t know. Maybe because I’m a timid person by nature [laughs], or a crazy person by nature, but I just like thrillers. I love horror movies, and that’s just the kind of thing I feel most confident and free to work in this space. I’m not sure why, but I’ve had my most creative success in this genre, but I’m not quite sure why.
Without giving anything away, this story is pretty dark, and it explores some real serious trauma. What happened because of that? What exactly inspired this story, and was this kind of trauma always at the root of the original idea?
Yes. I mean, in the beginning, it started with me becoming interested in telling a story about the fears of a parent, the basic fears surrounding having a baby, and not being able to keep your child safe and protect them. Fear about wanting to. And just these natural, basic elemental concerns any parent will experience. And that was the jumping off point. But as I was trying to work out a story and work on a character, these other themes of manipulation, coercion, trauma abuse, trauma, bondage, gaslighting began to significantly affect the story as my Had an experience, or rather, an experience that was happening to a friend I was seeing. A friend of mine was in a relationship with a very toxic person who was very unhealthy, and very scary. And it was something that I was seeing firsthand, and I was fascinated by it, and very frightened. In my efforts to understand that relationship and the psychology of both the victim and the victim, and really, in an effort to help her as much as possible. What I was learning about that situation found its way into the script, really started to change the direction of the script, and clearly became a very prominent part of the story.
There was a decade between it and the release of Nancy, Please. Obviously, it’s a small miracle that any movie gets made, but how often do you want to direct?
I don’t want to wait another decade. I mean, that was not by design. Making a film is difficult. and listen, if nancy please The world was set on fire and I became a very hot director after that, that would have changed things, but it was not like that. nancy please There was a very obscure film, and it’s just… making movies is very hard and it was something that just took a long time. And no, I hope the next time I make a movie, I hope not to wait nine years or whatever, but that was not a choice I made.