That, I think, is what I put my cards down on.Įdward Norton Really Did Dress as Tom Cruise in ‘Magnolia’ for His ‘Glass Onion’ Tech Billionaire’s Flashback Is introducing a character who you like, and who you suddenly have this emotional investment in casting your mind back to the first half where you’ve kind of perceived them as something else, knowing in the back of your head we’re leading up to that scene where she’s gonna get shot, and then throwing her into this back half, but through her eyes.
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So the big massive answer to your question is, introducing the emotional stakes of the entire movie at that midpoint. So I think that’s why we get away with it. But I think we get away with it because it’s not like a reveal at the end of “Aha! It was a twin!” It’s a complication in the middle that leads to a deepening of the stakes and the story. I didn’t want to do it, it seemed like a horrible trope, and just, “Will the audience ever forgive me for this?”. By the process, I was dragged kicking and screaming to identical twins. It has to be enough of a basic perspective shift that there’s a new tension that’s introduced in the repeat of all the different scenes. I feel like the first question, OK, how do you pull this off? And I guess the primary thing was, it can’t just be seeing it from a different angle. How do you avoid the pitfalls of such a risky move? Practically, how do you approach that? Because you could fall into the trap of boring the audience by going backwards halfway through the movie and pausing the momentum of the story. You said the script unlocked for you when you came up with the structural idea of revealing that Andi is actually Helen and then flashing back. So I can’t give it up enough for Janelle Monae, she was just an amazing collaborator. It just kind of asks everything an actor can do in a part while playing 3D Chess. So it’s a lot of math and on top of that, to do physical comedy, to have to tap in for some emotional scenes and play some really distraught anger, sprinting physical action. It’s Andi, it’s Helen, it’s Helen playing Andi when the audience doesn’t know it’s Helen playing Andi, and it’s Helen playing Andi when the audience does know it’s Helen playing Andi, and there’s a distinction between how she plays it in both of those. She just did the work to the point where - I mean, because really, it’s four parts. I just have to give all the credit in the world to Janelle. And that more than anything is what this part required, was a collaborator who had storytelling instincts, and who could come into it and think not just about making choices scene to scene based on what they’re getting from the other actors, but think about the map of the entire story and where that scene lands and calibrate it for that. She’s thinking in narrative terms with her albums. So Janelle, I think part of what made me comfortable casting her in the part, besides just that I could see she was a great actor, is being a fan of her music and knowing that she’s a storyteller, knowing that with her album, she’s creating characters.
I could be able to help them with orienting them day-to-day, but a lot of it was just going to be on their shoulders.
The elephant in the room was just whoever it was going to be in that part, it was just going to be a hell of a lot of detailed work. What were those conversations with her like about the character? I want to talk about casting Janelle, because she has the hardest role in the film.
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