![]() ![]() He very much responds to his environment, and he picked specific environments to create that. It sounds like it’s improvisatory, but also very planned at the same time.Įxactly. Like I said, as an actor, at first it feels very disconcerting, but once you get into his storytelling, it becomes a freedom because you know that you’re all on this strange, dream-like journey. Some of the words were already scratched into Camille, so if we found them, they were a moment of art. Or he’ll find a spider, or he’ll find a word, and it’s all threads of a narrative. He’ll come back to you at any moment - and he’ll also go back and get what you were doing when he was shooting the beetle. To use the example you just gave, let’s say he starts shooting a beetle. We all just had to hold hands and jump into the water. There wasn’t one actor on the show who knew how to do that, so there was a great deal of trust. You have to give into that style, which is brand new. And he knew exactly how he was going to edit this, and it’s meticulous. So if there was a beetle suddenly in the middle of the scene, that’s what he was shooting. All of a sudden, there was a beetle on the ground, and that’s what remembered. It’s so organic that you don’t even - you never know where his camera is going to be, and it’s all from Camille’s memory. There’s no beginning, middle, end to a scene. Completely different, to the point where at first you’re thrown by his approach because there is no blocking, there is no rehearsals, there are no lights. Is it different working with him than other directors? It’s sort of like start at A, go to F, go to E, go to C. I read the book, but the minute we started shooting, Jean-Marc was like, “This is going to be almost a dream state that we’re in all the time.” So I know who did it, and I know how the story ends, but that’s not the way we’re really telling the story. Well, you have to put everything out of your head when you work with Jean-Marc Vallée, because nothing he ever does is literal. How much did the book stick with you as you tried to bring this character to life? We just had to give the impression that she was one of those people, you know. ![]() I thought, “Wow! That is so fantastic.” But I don’t think they wanted to do that with her. When they meet Jackie in the book, she’s just had a facelift, and she still has bandages on and she’s described as, like, her bandages were oozing. But no, as soon as I got the role, I went right out and read Sharp Objects, and I thought, “Oh, my God, how are they going to expand this into eight episodes?” I’m pretty impressed with what Jean-Marc did, to be honest, because the role of Jackie in the book is described so differently. ![]() I had read Gone Girl even before the movie of Gone Girl came out, so I was a big Gillian Flynn fan and, of course, loved what they did with the adaptation of Gone Girl. Had you read the book before you did the show? ![]()
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