Because the entire thing was improvised, there was a sense of immediate sensitivity and vulnerability that had to exist between ourselves with ourselves and ourselves with each other. Yes, incredibly authentic, real, raw and stripped-down - more so than any other project I’ve ever been a part of. Did production feel just as authentic and intimate to you, the performer, as it does to us, the audience? I think everyone is going a little bit stir crazy, but who isn’t? ( Laughs.)Įndings, Beginnings is an intimate and authentic character study. My family is healthy, knock on wood, thank goodness, and I’m healthy. In a recent conversation with THR, Woodley elaborates on the process of improvising an entire movie, the shared experience between Daphne and her Big Little Lies character and whether she’d make a quarantine movie once the world returns to some semblance of normalcy.įirst and foremost, how’s everything with you and yours? ![]() “What you see is not an acted performance by any of us I think it’s truly Shai, Sebastian, Jamie, Lindsay - all of these actors, speaking within the confinements of a particular character, but speaking from our own experiences and our own hearts.” “I am all of these people they’re just different extensions and different colors of who I am as Shailene, what I’ve done in the past and what I did with this film,” Woodley explains. In Woodley’s case, she doesn’t mind if the lines become blurred. One of the challenges that many actors face on projects with a great deal of improvisation is walking the fine line between improvising as the character and improvising as themselves. You are in full communion and in full trust with the leader of this experience that you’re on - versus trying to submit yourself vulnerably to 15 different leaders on studio films.” “Working with a director like Drake on a small film - where he really is in charge and in control of the entire thing - allows for a very vulnerable and sensitive performance. ![]() On a lot of studio films, the director doesn’t have complete control, meaning there’s very aggressive producers or aggressive studio execs,” Woodley tells The Hollywood Reporter. “Generally, I find that when the director has the most control, that’s when the most creative outcomes can be accomplished. Penélope Cruz, Michael Mann on Working With Adam Driver and How 'Ferrari' Is Not a Racing Movie
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