00:00Music
00:26What's it gonna take for you to realize he's not real?
00:29Something happened, something that I can't explain.
00:32I need you to see that what I'm saying is real, it's true, and I'm desperate.
00:38I remember. I remember everything.
00:47With a film like this, it's obviously about perspective and perception.
00:52It's all about what Anna Jane is perceiving or what she wants, sees things to be.
00:58Could you talk about that sort of concept, Jonathan, from your perspective?
01:03Because it's a certain psychology where what does family mean in certain ways and how does that structure work?
01:11Yeah, yeah. You know, I think that that's really the reason that I was so drawn to making the movie.
01:16You know, I was really drawn to that premise.
01:19I've always loved kind of movies where there's some kind of just really grand kind of mystery going on where
01:24the audience or the viewer has to kind of piece all the, you know, puzzle pieces together, you know, alongside
01:30the main character.
01:31I've always loved things like that.
01:32And so, you know, my sister came to me with this idea for the film, you know, a woman kind
01:37of, she wakes up from a coma following this catastrophic accident and she's just, you know, consumed by memories of
01:42her husband and son, but they're nowhere to be found and the doctors tell her they're not real.
01:45And, you know, I just thought that that was so, that was, there's nothing more mysterious than that.
01:50And I've, I've always loved mystery and yeah, I mean, it's, it's kind of, you know, the film, the entire
01:55time you're kind of going along, you know, where you're wondering, you know, is, is this real?
01:59Which, which version of her life basically is real?
02:02Is what she's saying true?
02:03Is it not true?
02:04And you really have to figure things out with her.
02:06And, you know, it's also fairly ambiguous as well.
02:09I've always loved that as a viewer where a movie won't necessarily answer all the questions.
02:13I mean, there's certainly closure here as well, but there's a lot of questions that still remain.
02:17And I've, I've always loved that as a viewer.
02:19And I really tried to bring that to this film.
02:21Can you blink for me a few times?
02:25Can you tell me your name?
02:29That's it.
02:30What's your name?
02:38You remember why I said you're here?
02:42You were in an accident about three months ago.
02:45Many, many people died.
02:46At this time, authorities have not disclosed the cause of the crash.
02:49You were one of the lucky ones.
02:52She's not talking to anyone.
02:53She can eat anything.
02:55Are you going to go see her?
02:57She doesn't want to see me.
03:00And now, Amelia, talking about that, look, can you talk about the notion of duality?
03:06Because duality is obviously a psychological point of view.
03:10It's a mindset.
03:11But here, it's actually a physical thing of duality in certain ways.
03:15Could you talk about finding that?
03:16Because did you have to separate everything in terms of how you played her?
03:21Yeah, that's actually really interesting.
03:23For sure.
03:24I think I spent a lot of time cataloging just physicality between Jane versus Anna and kind
03:33of how she moves about her day.
03:36And I don't know.
03:37It's not something I've ever really encountered before as an actor, where it's in the same
03:42breath of whatever we're shooting for that day.
03:47I might be playing more Jane scenes, and then I might step into Anna a little bit.
03:53And so, yeah, it's an interesting thing for sure.
03:57I will say that there wasn't extreme differences, more so just small physical things.
04:08And then I think, obviously, like, you know, Jane is in such a terrible mental state for
04:14most of the film.
04:15And then, like, all of the Anna scenes or Diana scenes are lots of joy, lots of happiness.
04:21So it didn't really, they were never, like, super close together where it got, like, kind
04:25of confusing, if that makes sense.
04:26I was like, oh, it's very clear right now that I am being Diana versus Jane.
04:31I just feel like he needs to be more careful.
04:33I mean, that's, like, the fifth time he's fallen in two days.
04:35Oh, yeah, he's six.
04:38Sometimes I just feel like he doesn't listen to me.
04:43Yeah, he's six.
04:44You keep saying that like I don't know how old our son is.
04:47I'm aware of how old our son is.
04:48I'm just saying, he'll grow out of it.
04:51Well, you didn't.
04:52I mean, you never listen to your mother.
04:55No, you should be thankful.
04:56My mom's a lunatic.
04:59Yeah, yeah, yeah.
05:00That is true.
05:04Okay.
05:05Do you want to do the dishes or give him his bath?
05:11Bath.
05:12Damn it.
05:15You know, I don't think you've given me one kiss today.
05:19Don't be a liar.
05:20The whole week, actually.
05:21Well, why should I?
05:23I'll do the dishes.
05:25But it's also this perspective perception thing, which I was talking to Jonathan, obviously, right before about is the idea
05:32of how people see her versus how she sees herself.
05:35And that's interesting because we sometimes we look at people that maybe have a certain mental, not illness, but blockage,
05:43and we don't know how to deal with them.
05:45It's about understanding versus accepting, you know, and it takes a while, specifically, like even with your brother to make
05:52that short of change.
05:53Can you talk about perspective and perception?
05:56Yeah, I mean, I think like, just that, like her perspective the entire time of being fearful that no one
06:05believes her.
06:06That is Jane, Jane's plight is that she feels a little bit like, maybe not gaslit, but she feels a
06:13little crazy, you know, made up this whole, this whole life.
06:17And so for me, I mean, as Amelia, that's like my worst fear.
06:22So I found those scenes to be really, um, they hit home a little bit more.
06:27And then Diana, it's like most of her perspective throughout the film is, is filled with like love and joy
06:32and, and, and family relation, familial, familial relationships.
06:38And they're not really being any kind of, there's nothing rubbing her, her life in the wrong way there.
06:45I guess, you know, you also just because, you know, you mentioned her brother Brady as well, you know, it's,
06:49it's really a story about, you know, these, these two people who are both kind of put into impossible positions
06:55kind of, you know, in different ways, right?
06:56So, you know, Amelia's character, Jane is just put into this impossible position of, uh, you know, no one is
07:03believing her, no one believes what she knows to be absolutely true.
07:07And then, of course, her brother, Brady is being put into the position of, you know, I want to believe
07:12you because you're my sister.
07:13And, you know, you're the closest thing in the world to me, but I have this whole lifetime of experience
07:17with you where I, I've witnessed what you're saying, um, just doesn't add up.
07:22You know, it's, it's, it's really great in that sense as well, I think.
07:25So it's really about these, these two people both being put into kind of impossible situations.
07:29I can't, I can't, I can't be here without him.
07:41He's not real, Jane.
07:42He's free.
07:46Then where is he?
07:51Where did you live with him?
07:53Hmm?
07:54I don't know.
07:54What school did he go to?
07:56I'll go out there right now.
07:57I'll go find him.
07:58Tell me, where did he go?
08:02I've known you my whole life.
08:04I know you better than anyone.
08:05All these photos of you, of me.
08:07Why isn't he in there?
08:15Jane.
08:20He's just a dream.
08:23Just a dream.
08:24But there's a certain truth, uh, in the details.
08:27Um, I'm not sure whoever wants to talk about this first, but you know, the details about
08:32certain things that, you know, that Anna, you know, slash Jane gloms onto, you know, certain
08:38things that are important to her.
08:40I mean, you know, could you talk about sort of finding those truths, uh, Amelia within her?
08:45I mean, I think, I think those like Easter egg moments, um, within the film were something that
08:51definitely John had plotted out.
08:53And I think together there was moments of like, oh my goodness, what if there, what if we added
08:58this little part in with the bookmark so that we are taken back as, as the audience, we are
09:02taken back to that memory of when Jane was on the train.
09:06Um, and yeah, I don't know.
09:08I, I feel like perhaps John, you might be able to answer that one a little bit better.
09:12It's been a while since we filmed.
09:13So I'm like trying to understand.
09:16Yeah.
09:16Yeah.
09:16I mean, I think for me personally, kind of as the director, but also that this, you know,
09:21the storyteller and the writer, um, for me, I always viewed it just as, you know, we don't
09:26want to expose too much information to the viewer.
09:28We don't want to reveal too much, you know?
09:30So it's like kind of throughout the film, you know, the, the Jane that we're seeing
09:34is, you know, 70% Jane and then 30% not Jane.
09:38And, you know, that, that 30% is always kind of seeping through a bit and at various times
09:41in the film, you know, that percentage changes, but, you know, I, I just viewed it in, in terms
09:46of, you know, she has this, this connection to this other life.
09:50Right.
09:51But it's, it's, it's never so intense as to be kind of spoilery or, or, or so for the
09:55viewer, does that make sense?
09:56You know, you have a character drama wrapped in sort of a genre.
10:00Rapper.
10:01Does that make sense?
10:01Because it, because the mystery and the thriller, it makes total sense, but that allows you
10:06to talk about darker themes.
10:08A hundred percent.
10:09And that's, that's actually something that I appreciate you saying, but it's, um, that's
10:13one of the things that I think makes this film so unique is that it really is, you know,
10:17a character drama with these very kind of, you know, these quiet moments of anguish, as
10:21well as these kind of very, you know, loud kind of rageful moments as well, you know, where
10:24she's just going through the ringer, going through the full gauntlet of things, you know,
10:27but it's absolutely, it's wrapped in things as well.
10:30You know, it's, it's a suspense, it's a mystery, it's a, it's a thriller.
10:34You know, as I said, I've always loved mysteries and kind of the whole time, um, the viewer is
10:38kind of putting pieces together with Jane.
10:40Right.
10:41Um, so it's really, uh, I think, I hope for the viewer, a really interesting kind of hybrid
10:46hybrid of different things.
Comments