![]() For me it helps me write when I know the person really well, so Carla makes it easier because I don’t have to worry about her doing her job well, and I can focus on writing things that I know work for you. Sebastian: My favourite filmmakers are those that always work with the same people. I believe this is key to being an actor, and so many people I know don’t have that luxury anymore, so it’s a very conscious effort to get into a character.Īfter seeing A Quiet Place and how John Krasinski and Emily Blunt were scared of working together at first, how comfortable are you working with Sebastian? Has that collaborative process changed over the years?Ĭarla: At this point in my career I only want to work with talented people who I really enjoy as human beings, and Sebastian is certainly at the top of that list. I never had any interested in being a brand, or be known as one thing or in a position where I can’t walk down the street and observe people. I think me being Italian and a very communicative and open person, it was fascinating to hold back and not reveal anything as my character. So it’s always interesting as an actor to discover new things you might be good at even if you were uncomfortable with that earlier in life. What were the conversations like regarding your character, Carla? Because this isn’t a character one would associate with you, and again it’s a character you don’t fully understand until late in the film.Ĭarla: It was a very different role than any I’ve played before, and any that Sebastian’s written for me either. Sebastian: There’s also a trust that needs to be built with the audience so that they understand that there’s a reason for what’s happening, and it’s not just poor acting, but designed in a way. This character is experiencing these things for the first time and I had to try and think of my senses as being untapped and doing these things for the first time so that makes for a surreal first impression of the character. Without spoiling anything, how did you prepare to enter the different mindsets of your character? Because at the beginning it was a bit weird to see, until you finally understand what happened before.Ībbey Lee: It was baffling at times, because I had to reset my preparation each time, in a way. These colours were not added in post, they were shot that way, so we were locked into those very strong primal emotions being associated with certain scenes.Ĭarla Gugino: I find it, because the story is not told linearly, that it is very useful for the audience to have that colour code that connects certain flashbacks to the current scene, and you will go back and think “oh, I should have noticed this before.” Not only was that a cool thing to do, but it helped us map the movie and know where we were at all times. I worked with my director of photography to code what colour meant what for the flashbacks, like red for danger. Sebastian: For this movie I’d say Dario Argento and Pedro Almodóvar were very influential because their use of colours. It gives the film a sort of dream-like look. I want to ask about your influences for this film, and your use of vibrant colours. I also felt the message of the tale was a bit unclear, like she paid for her curiosity, Is that it? And I kept thinking of other similar tales that punish women for gaining knowledge and their curiosity. I was fascinated by the idea that they didn’t treat the guy as a monster. I always thought about that character and I was always interested in how it was portrayed sort of a likeable monster, with the wife character going somewhere she wasn’t supposed to and being punished and apologizing for her mistake. It is kind of like The Shining, with the person you love going crazy and trying to kill you, and that really resonates with me. It was always in the back of my mind as a very scary thing, you know. ![]() It is not very well known in the U.S., here they go “is that like the pirate?” but in Europe and Latin-America it is very well known, I new it as Barba Azul. Sebastian Gutierrez: Well, the film is based on the tale of Bluebeard, which is a French folktale. Where did you get the idea for Elizabeth Harvest? Rafael Motamayor chats with writer/director Sebastian Gutierrez, and stars Carla Gugino and Abbey Lee on folktales, directing your partner, fainting in the theater and more…
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