00:00What was your approach to being the creature on set?
00:02Did you lean more method and keep to yourself or were you shaking it off in between scenes?
00:07I mean, there's a certain point once the prosthetics go on where they kind of demand that you are the creature
00:15and there's a level of focus that needs to come to the role.
00:18But at the same time, Guillermo created such a free set.
00:25I hate when people say this, but he really created like a safe space.
00:28So it was creatively very liberating to be on that set.
00:35It wasn't like this idea that everyone has a being method, which is tortured and suffering
00:40and everyone else suffers so you can get a performance.
00:42It was a little different to that.
00:44And how did you find the voice of the creature and transform your voice for this?
00:49Well, I mean, his voice goes through so many developmental stages as he kind of grows up
00:54and as the world and the environment affects him.
00:56And I worked with a great voice coach, Jerry Grenell, who's an amazing, he's not just a voice coach,
01:03he's a philosopher on performance and on life.
01:07And, you know, we did a lot of intricate work in poetry and in Tibetan throat singing
01:14and, you know, a lot of stuff like that.
01:16And it kind of just became what it was.
01:18It was like a patchwork.
01:20And given that this was a dream project for Guillermo,
01:22did you feel any sort of pressure stepping into this role?
01:25I didn't feel any pressure.
01:27No, I mean, it felt right.
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