One of the things that surprised me, because it’s not on the page, is how funny Emile is in the movie. While this is an extreme circumstance and it’s mind-bending and very intense, what would really happen here? I think when you have that trust with someone, there’s a looseness that happens in the performance that makes it very pleasurable. It’s the honesty between these two people. If you overplayed these people too much or forced it or if it leaned too hard into the psychological element… I just knew that Emile and I would be very naturalistic with it. I knew there would be something really interesting that came from this dynamic. So few truly live by that statement or who are that way, but he’s one of the very rare few. I always tell him that he’s incapable of a false beat. But just knowing Emile, he’s such an honest actor. You always have first-day jitters on every single project, no matter how long you’ve been doing this. I think I would have been a bit more nervous, maybe. Would you have wanted to take on this role with an unknown lead opposite you? Glad you brought up Emile, because I was curious about that chemistry having worked with him recently on Force of Nature.
#Kate bosworth movie#
I have free reign, and for a movie like this, it was important to have that exist between the two characters.
#Kate bosworth how to#
I know how to tease him or how to push his buttons. The chemistry with Emile and us being as comfortable as we are with each other. I’ll tell you this, every day Emile and I walked into that room and said, “Ah, this fucking room again!’ It got old really quickly. I think it shows in the movie, because when you watch it, you’re not bored with the room, which is an incredible feat unto itself.
It was the type of thing that he and his DP had really thought out. It’s almost like the thing that can surprise you and be the most challenging part but he’d really thought it through and had some Kubrick comparisons. I remember asking him early on, ‘How are you going to film a white room interestingly for 90 minutes?’ I was very fascinated by it. So technically I think he really nailed it. Mukunda had his cameras on wheels, so he could really use the space and get his cameras around with a lot of fluidity. There were so many challenges here for all of you given the constraints of a single white room. He’s very specific but he’s open to collaboration, so you hit a real sweet spot when you’re working with someone like that. He has such a sensitive, artistic approach to his actors and his articulation overall. Mukunda is the perfect director for this movie. This movie is a real make-or-break with who is involved. Selfishly I just wanted a front row seat to that as well.
I love working with him and just knew he’d give such a brilliant performance in this. I knew Emile was doing it and I’d worked with him before. So it was an interesting life imitating art but in a cool psychological thriller way to it. I really felt like it was an interesting time to make this movie because, while it’s an extreme version of what many people went through in the pandemic, it’s still a couple being shut in one space. Kate Bosworth: I feel the script has been around for a little while and during the pandemic was a sweet spot for these smaller, contained movies to be made, I mean, just because of safety protocols, you couldn’t have 30 actors on a set. Under the Radar (Matt Conner): I’d love to start with how you became attached to The Immaculate Room in the first place. We recently sat down with Bosworth to ask her all about her latest film, her chemistry with Hirsch, and the constraints of a lone empty room for a set. For Bosworth, the ability to watch it with an audience was a thrill she’d not had in quite some time, and the chance to celebrate such a daunting film was a big part of the “tightrope” act of it all. It’s an intriguing psychological thriller, a taxing emotional acting exercise, and a serious directorial challenge for Mukunda Michael Dewil.ĭespite the technical and emotional hurdles to making a 90-min film about two people unravelling in a small, enclosed space, The Immaculate Room was awarded Best Picture at both the London Independent Film Festival and the Mammoth Film Festival, at which it premiered. The social experiment feels eerily familiar to our own sheltered-in-place experiences so close in the rearview mirror-at least for those who’ve emerged during/after a global COVID-19 pandemic, but of course, The Immaculate Room is much more than that. The Immaculate Room is an unnerving new film starring Emile Hirsch and Kate Bosworth as a couple open to the challenge of staying in a single large white room-the titular space-for 50 days in exchange for $5 million. Even the timeliness of it all is a little unsettling.
0 kommentar(er)
