![]() Shock: He’s talking about Giallo and some of the other filmsâ¦īrody: I love that guy for many reasons. Shock: Dario Argento’s in town for a convention… But you’re approaching it like a real moment and you have to embrace that feeling. One layer after another, it’s so screwed up. When I saw it, I was howling out of anxious laughter and my friends were laughing because…it’s f**ked. ![]() The scenario you’re talking about is so wrong on so many levels, but you know what you’re making and there has to be an enthusiasm for that. This is what I was referring to in finding elements that are emotionally complex and take a lot of investment. Shock: Were you anxious about shooting it or was it just workâ¦īrody: Right, another day in the barn. Shock: The film lurches into very strange territory in the last act⦠It’s not like they’re “here’s the scary set up and now nothing’s happening for a while, now here’s another gory moment, let’s gross you out and move on.” That’s not this film. Those films, including Splice, will have staying power because of their multi-dimensional quality. That’s like saying The Fly and Alien were genre films, but what they give the audience, like Splice, is a lot. Shock: Are there any fears about turning people off to the genre elements of this film?īrody: I feel this film is very complex that works on many levels. If you’re in a green room where nothing is happening, it’s very difficult. I need to tap into something that is creating an emotional reaction that feels real. But the process, what I anticipated being all fun and games, it’s very challenging. Andy was there off camera for us most of the time, but it’s very different there are so many elements of that movie that were purely CG and that was my first foray into that FX realm. Andy Serkis became a part of creating the nuances Peter was able to achieve with Kong, with the facial gestures and stuff. ![]() The process changes a lot and becomes more difficult. Shock: Would you have been turned off if you knew you were going to interact with an all-CGI creature?īrody: No, not now. As we were dealing with the mature Dren, Delphine gave so much. It’s intense and scary and a remarkable achievement. There’s an intelligence and a sense of humor to it. They get a child, so to speak, and there’s attention to the mother going on in the nurturing phase then my character gets the attention as the girl develops. One partner wants to have a child, another doesn’t. It deals with a screwed up family dynamic, so there’s another layer for my character to deal with. It’s so unusual and such a weird, morally f**ked up film that deals with – first of all – it’s not that far from the scientific advancements that are being made and will be made, so there’s an element of fear that’s tangible and based on reality.
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