It was good, but I didn’t see too much because I was so nervous. And then sometimes it’s the little things that make you go in a new direction.ĭid you have any moments like that during your singing scene in “Blue Bayou”? It seems to require a certain kind of peace, a certain gentle air when filming. And you just look at each other, and they look at you and you understand that they saw you were doing something, and they’ll say, “Do it again.” That is magic to me, someone who has that emotional intelligence, and has that eye, and is able to communicate or make a space where the actors get to explore and stretch whatever they have, to dare and accomplish something and not to feel scared. I should have followed that instinct more.” And a good director, I feel, sees that. And a good director will say, “ Ah, Alicia tried something new there,” and when I do it, I feel, “ Something happened there. it’s amazing, you can do a scene and suddenly when it’s right, everyone, like the boom guy, knows it was the take. It’s true! And what happens is, the best directors I work with is that you give them a take, and obviously sometimes you come prepped, but the beauty and the magic that happens when. Well, it’s funny when I say, “language,” it’s very often that good directors talk very little. You mentioned earlier about directors having a language, and that makes me wonder how you like to be directed.
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But actually the story is about children and the situation they’ve been put in. I think you need to get her prepped, and you of course handle or choose to. Sydney is incredibly clever, and she understands. And for them to know what the film’s about, for you to have both profound chats with them and their parents, or to just get time to really hang. I know this now, but if you work in a film with children, especially with subjects like the ones that are in this film, it’s so important to get to know each other, for them to feel extremely safe. And then also to spend time with Sydney, our daughter. So I went out and just kind of engrossed myself in the culture and meet local people, go out and listen to music, hear different voices, hear people talk. I went out to New Orleans as soon as I could because I had never been there, and I was very happy for a very long time I’ve always wanted to go there. It was a few things, it was a lovely thing how it just end of snowballed. It kind of went very fast after I had a chat with Justin that we ended up being prepped. How did you work with Justin and the young Sydney Kowalske to create the family chemistry? What was the key behind it? You get better at it, but we just used the script as our main guideline through each scene.
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It’s more open for ad-lib, from both Justin and I. I think due to the nature of the genre and this film, that naturalistic feel that it has, it becomes easily more than that. All films end up being so different because of the directors and how they rehearse, how they shoot, how well they want to keep to the script. No, I think those things are more down to what kind of film you’re making. I think he juggled being both behind and in front of the camera extremely well.ĭoes that change up the in-scene energy, sharing scenes with your director? He could read off a scene that way, aside from being in it.
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kind of will guide, but he also saw everything not just through a lens, but looking into my eyes and what I was trying to do. And it’s something that a good director does, is to have a language, to be able to communicate very directly with their actors.
#Scenes like the famous say anything boombox scene full
I think that, if anyone, has a full understanding of what it is that actors do.
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What is the advantage of working with an actor who also is a director, especially when it comes to the intense emotional scenes that are throughout the film? Vikander spoke to about the making of “Blue Bayou,” the qualities of a good director, the one item that’s always in her bag, and more. They find harmony with Kathy’s daughter ( Sydney Kowalske), from a past relationship with a cop ( Mark O'Brien). Jessie loves Antonio as much as any child can love a parent Kathy loves Antonio, and witnesses first-hand the pain of someone being told they do not belong. The story of "Blue Bayou" concerns a Korean adoptee (Chon) facing deportation due to outrageous deportation laws, and the problems within their marriage that threaten to tear them apart. The scene is one of many pieces of raw sentimentality from Chon’s direction, which makes great use of Vikander’s full immersion into many different shades of melancholy.