IR Interview: David Moreau & Olga Kurylenko For "Other" [Shudder] - Part II - video Dailymotion

The Inside Reel

Writer/Director David Moreau & Actress Olga Kurylenko talk to The Inside Reel about perspective, tone and intent n regards to their new psychological horror film from Shudder: "Other".

Transcript

00:00Call the cops.

00:15David, I'm beautiful.

00:17Do not f*** the eyes.

00:20I am.

00:21I'm beautiful.

00:22I am.

00:23I'm beautiful.

00:24I am.

00:27I'm a monster.

00:28David, could you talk about that, about sort of creating that world of the monster?

00:34I mean, even from the beginning with the red lights and it's almost like you're in a quarantine

00:38zone, it's about creating sort of that structure.

00:41And even the house itself becomes a prison, even a pool.

00:44Could you talk about sort of creating that mood, creating that tone?

00:49Was it about building it and then using, obviously, the different mediums, using almost the found

00:54footage perspective, using that perspective?

00:57Could you talk about that, please?

01:00The thing I really wanted to make is like hiding faces.

01:07For example, I have my vape, okay?

01:12You don't see me?

01:13You don't.

01:13And then after the vape, and then you see my face.

01:16But if you just have like a cloud or something and you hear a voice behind a cloud and you

01:23have a strange voice, you will try to figure out what's behind the cloud of vape, you know?

01:29And finally, it's just a stupid French guy like me.

01:32But yeah, since I started to make those kind of movies, I always tell this story about like

01:46Texas Chainsaw.

01:47The first time I saw a movie, horror movie in my life, I was nine and it was Texas Chainsaw.

01:55My parents avoid me from seeing it.

01:58So I had to look at the movie through the people of their room, you know, and I could

02:04not see a dam.

02:05I was like trying to see the movie.

02:07It was impossible.

02:08So I put my ears and I hear the sound, terrible sound of the chainsaw and the woman screaming

02:15and all that.

02:16And I made my mind with the sound of the movie without seeing it.

02:38And I always found, probably it was because of that, that not showing and just like putting

02:46a filter between the monstrosity and the audience was a way to have the audience more

02:55actively taking part of the scares, you know?

03:03Because you have your imagination who still has a possibility to be active in watching

03:12a movie.

03:13And so this is what I tried to do with, with this, with this one, because, because as I

03:18told you before, is that what, what is monstrous?

03:23Is it the way that the thing we are looking at or the way we are looking at it, you know?

03:28And this is why at the beginning we have this mask on this mother.

03:32We, we see her face, but not completely.

03:35We have this red light.

03:36We say, we wondering what's outside, you know?

03:38So I, I, I like to give some clues about what we think can be behind the door, what

03:45we see can be outside in the forest of what we see, what, what is a person when we see

03:50the faces through the screens, the deformed face of the gardener.

03:54Is she's deformed?

03:55No, but she is.

03:56Yeah.

03:56So everything is like, I think, I hope that the audience is connected to it because

04:02they have to figure out what is monstrous and what's not.

04:06And, and, and, and at the end of the movie, I would love the audience to feel connected

04:12to this beast and to understand that probably it's, it was the way we think it was monstrous,

04:20that was monstrous.

04:21I speak to a lot of actors and directors about this, about perspective and perception, how

04:49you perceived, how you're perceived, but the perspective you're taking in because of your

04:54background, because of your experiences, all that.

04:57And this very much does so to absolutely the last shot.

05:00It's about what your perspective is and the perception within that moment.

05:05Could you talk about the power of perspective and perception in a movie like this?

05:10Alice is, Alice is, Alice is, Alice is, Alice is, is unable to look at this until the end

05:19for the reason that I hope you understood when you saw the movie.

05:24So at the end, when she has a clear view on what she was, that what was behind somewhere

05:31hidden in a, in the back of her head, you know, the clarity of it, the fact that, that,

05:36that, that, that this figure is starting to be clearer and clearer and clearer and clearer

05:40and finally we get through the, the eyes of the beast, the soul of the human being.

05:47It's a moment where she's connected to it.

05:50So, so it's all because of Alice that, that, that, that the perspective is changing.

05:55I mean, it's because we are Weaver from, from, from, from the, the beginning.

06:00I mean, almost the beginning, except the opening scene of the movie.

06:04We, we, we, we're going through this journey with her and through her eyes.

06:07And at the end, as a character, we, we are connected to her in a way that she's finally

06:13is able to look at things with this clarity.

06:18What do you think about yourself?

06:21I don't know.

06:22I'm beautiful.

06:23You are a beautiful Alice.

06:26What did you put on your body this time?

06:28Because I'm almost thinking she looked, she looked like almost, maybe it was not even

06:37reality as it was, was her nightmare that she started living in.

06:40There's different ways you can look at this, obviously.

06:44More than just the practical, you know.

06:46And when we show, we shot the ending, the, the end scene with Olga, she can tell you how

06:52we did it.

06:52It was very, it was very, very emotively.

06:56I mean, like it was really emotional.

06:58Yeah.

06:59I don't know.

06:59I actually, I never thought that you're, there were different ways of seeing it.

07:02I see it as the truth.

07:04Like, I don't think it's happening in her mind.

07:06To me, this is all, to me, this is all very real.

07:09And it's actually, it's pretty, I think it's pretty easy to make it real.

07:13And sadly, sadly, I'm sure there are things like that happening right now in the world.

07:19And they have happened before, more or less similar, or maybe not exactly the same circumstances.

07:25But once in a while, you open a newspaper and you read about some horror family story

07:30where, I don't know, kids have been chained up to the bed and like all sorts, you know

07:35what I mean?

07:35Locked up in the basement, all sorts of child abuse is going on.

07:40And we don't know about it.

07:41And sometimes people say, oh, they were my neighbors.

07:44I didn't know what was going on.

07:45Right, right next door.

07:46I don't mean to say it wasn't real.

07:48I'm just, I'm just saying there's different ways, you know.

07:51Yeah, yeah, yeah.

07:52So for me, it's all, yeah.

07:54And this is why also the story attracted me because there's not nothing supernatural.

07:59It's all very real.

08:00And it does speak about very important questions.

08:03Essentially, there are two different child abuse going on in the story, right?

08:07There's not just one because there are two different children and, you know, without saying

08:13too much, there are, there are, there's all sorts of abuse going on.

08:18And, and, and then obviously people there are, that have been abused are abusing in their

08:26turn as well.

08:27So you create, you know, it's a chain, right?

08:30You abuse and you create abusers and then it's going to keep going on.

08:34It's an important subject.

08:35And it's the power of that last scene because you see the empathy of which that that's going

08:41through all that.

08:41The forgiveness as well.

08:43Yeah.

08:43And then, yeah, yeah, yeah.

08:45And then the understanding and then the understanding of why someone is, might be a certain way, right?

08:53And, and what's behind it all and going back and of course, everything is explainable.

08:58We all have our stories.

09:00It, it might not excuse the fact, but it explains it.

IR Interview: David Moreau & Olga Kurylenko For "Other" [Shudder] - Part II

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