As a budding actress, I can wholeheartedly relate to the experience shared by this young talent. It’s truly inspiring to see how Sir Mark Rylance, a seasoned actor with a theater background, stood up for his process and set boundaries, something that was often discouraged in her early career. His approach, firm yet respectful, serves as a powerful lesson for all actors navigating the industry.
Dylan O’Brien is keeping all his interests well-rounded: Caddo Lake on Max, Saturday night at the movies, his passion for the New York Mets during their playoff season, he’s got it all covered.
Back in March 2022, I had a chat with THR about Celine Held and Logan George’s movie, “Caddo Lake.” I mentioned that editing would be crucial for this thriller to succeed, and boy was I right! The release of the film got delayed due to labor issues in 2023, Held and George expanding their family, and producers aiming for a Halloween release.
Clearly, it’s not hard to understand why producer M. Night Shyamalan found appeal in Held and George’s work. He is the filmmaker who transformed a realistic drama about a melancholic security guard in a failing marriage into the hidden superhero movie called “Unbreakable“. Shyamalan became acquainted with the married directors through his Apple TV+ series, “Servant“, and during their initial three-episode collaboration, he inquired about their most recent feature script. Upon reading it, he promptly decided to fund the project. At that stage, O’Brien and Scanlen were already set to star in what eventually became a streaming premiere on Max.
When Shyamalan arrived, I felt, ‘Ah, that’s clear now,’ but primarily, I was thrilled to have an experienced director who strongly advocates for a filmmaker’s independence,” O’Brien explains to The Hollywood Reporter. “There couldn’t have been a more suitable producer to enter and support Celine and Logan. He truly allowed them to thrive.
O’Brien is currently playing opposite Dan Aykroyd in Jason Reitman’s movie, “Saturday Night,” which revisits the turbulent 90 minutes leading up to the premiere of “Saturday Night Live” on October 11, 1975. When asked about a dramatic 90-minute period from his own career, O’Brien reminisced about an incident with Sir Mark Rylance while filming Graham Moore’s movie, “The Outfit,” in 2022. His recollection is also influenced by his recent statements to Men’s Health regarding the life-altering accident he experienced on the set of “Maze Runner: The Death Cure” in 2018 and his feelings about safety concerns being overlooked, leading to severe injuries.
On the set of [The Outfit], there was a humorous incident that also served as an insightful demonstration of an actor defending his creative approach. In my experience, this wasn’t something that was valued or respected; instead, it could even lead to being seen as a problem. If you ever expressed concerns like, “I need more notice if this scene is going to be…” these sentiments were often dismissed. The response would typically be, “Are you being difficult again? Are you becoming arrogant?” shared O’Brien.
On a particular day of filming, O’Brien and Rylance spent a significant part of it finishing an eight-page conversation between their characters. At the end of the day, they were under the impression that they had completed the scene fully, without requiring extra close-ups. However, when they returned the next day, they found out that the scene from the previous day, which they thought was finalized, was being reshot for close-ups without prior notice. When O’Brien and Rylance learned this, they understood they would have to rework that scene. In response, the acclaimed Oscar winner and distinguished stage actor insisted on his position.
O’Brien explains that he made a light-hearted comment about the situation instead of causing unnecessary drama, which is something one shouldn’t do in their early twenties. However, he was inspired by Mark Rylance, who powerfully declared ‘This is completely unacceptable,’ and was listened to and respected. This allowed us time to regroup and prepare, taking as long as we needed.
O’Brien notes: “Even back then, [Rylance] was exceptional. He said something like, ‘I might come off as a bit difficult, but this is a strong stance I want to take. Am I pushing too hard here?’ And I replied, ‘No, no, no. It’s fantastic. I admire you for this. This is a clear boundary, and I appreciate that you stood up for it.’ That moment has stayed with me, and the way he did it was assertive yet considerate.
In a recent chat with THR, O’Brien shared that despite the challenging environment of Caddo Lake’s marshy set, it turned out to be one of his most delightful filming encounters yet.
So how did Caddo Lake play on the page? Were the twists and turns just as impactful?
Without the visual aspect, it seemed a bit more challenging to understand initially, requiring me to read it twice, although I was hooked after the first reading. The captivating script and ambiance depicted in the concept footage by Celine [Held] and Logan [George] had me completely entranced. Ultimately, what drew me in was the solid foundation of the story’s emotional resonance rooted in this family tragedy. The film explores loss, transforming everyday circumstances into something extraordinary through its heightened element. I am particularly fond of such storytelling techniques, but I needed to revisit certain twists to ensure I hadn’t missed any details during my second reading.
Were you already signed on when M. Night Shyamalan took over as producer and financier, and didn’t that situation seem perfectly logical to you given the nature of the project? After all, it must have been quite appealing for him to become involved, right?
Absolutely, when he joined the project, I felt a strong sense of understanding wash over me, but what truly excited me was his extensive experience as a filmmaker and his unwavering commitment to creative freedom. He funds his own films, valuing a single, clear vision above all else. In my opinion, there couldn’t have been a more suitable producer for Celine and Logan, as he provided them with the support they needed to thrive and fully realize their artistic vision.
As a gamer, I found myself navigating uncharted territory when collaborating with co-directors for the very first time on this intricate project. Compared to other directors I’ve encountered, they were meticulous in providing precise guidance, making sure every detail fell into place like pieces of a complex puzzle.
They meticulously manage everything, keeping tabs on every detail. Yet, they cherish life’s imperfections and genuine people. In essence, they are deeply invested in both precision and finding authentic moments. As filmmakers, their unique ability lies in working with actors as well as non-actors. They held numerous auditions for people who had no prior experience on set or in front of a camera, making them feel at ease to forget about the camera. They would provide small focal points, thereby creating an atmosphere where naturalism and grounded authenticity thrive within the cinematic genre.
Just as I shared with Celine and Logan, during certain parts of the movie, I found myself contemplating how uncomfortable and grim it must have been for all involved working in such a damp, muddy setting. Was the entire production process left you feeling grubby?
Indeed, despite appearing miserable, I found the experience quite enjoyable. It might seem odd, but watching the film could give one the impression that the conditions were harsh, yet for me, it was a delight. Eliza [Scanlen] spent more time than I did covered in mud and wet, yet being so engrossed in this location was extraordinary. The environment and community provided an incredible foundation for my character development, making it almost effortless. By the end, over 90% of what shaped my character stemmed from immersing myself in this setting and interacting with this group. I became deeply invested and didn’t want to depart. I was completely captivated by it.
“What I enjoyed most from your performance was when your character, Paris, experienced a profound realization while examining a piece of paper. This was followed by an intense, almost maniacal laugh, which was one of the rare instances in the movie that truly conveyed Paris’s emotional release. Do you recall making this decision during the filming process?
Celine and Logan are the ones to thank for my performance, as they have a unique talent for encouraging expression without being overly prescriptive. They understand that being too specific can stifle creativity and limit an actor’s freedom, which is harmful. Yet, they manage to provide just enough guidance while still allowing room for exploration. For instance, if I was delivering a line or action, they would suggest I amplify it significantly, saying something like, “Give us that a hundred times more. We might not use it, but it could be extraordinary.” Their enthusiasm is contagious and inspiring. Specifically, I recall a moment when Celine encouraged me to try something new and unconventional, telling me, “It may not make the final cut, but just surprise us with something fresh.” In this way, they foster creativity and openness in actors.
I suppose costume fittings usually aren’t particularly exciting, but do you think you’d never forget the one for Jason Reitman’s “Saturday Night”?
(Laughs.) I recall our only task was indeed shortening those hot pants even more. They were adjusted and said, “They simply need to sit higher.” (O’Brien then mimics his amusing response to this news)
(Writer’s Note: In the beginning of Saturday Night, Rachel Sennott as Rosie Shuster playfully teased Dan Aykroyd’s character, saying she asked the costume designers to make his shorts even shorter during a fitting. Was this costume fitting the source of that joke made by Rosie?)
I’d like to pose the same question I asked Rachel Sennott and Gabriel LaBelle: Which 90-minute segment of your professional journey would make for the most intriguing movie if it were dramatized in a Saturday Night Live style?
What’s coming to my head right now is from when I worked with Mark Rylance on something.
The Outfit …
Absolutely, we discussed that topic. However, I have a deep admiration for that man, and an amusing incident on set also served as a valuable teaching moment about an actor asserting his creative process. In my experience, such behavior was often discouraged or even seen as negative, with anyone advocating for better communication being labeled as difficult or conceited. But in this case, since Sir Rylance is highly respected in the acting world, it was truly enlightening.
On a particular day, we completed a six-hour sequence that spanned eight pages of dialogue. We filmed the scene from two different angles with numerous takes, starting with a wide shot before transitioning to a close-up resembling a cowboy shot. As the day ended, we both asked, “Can we move closer?” However, this wasn’t part of the plan. Our director, Graham Moore, who is incredibly skilled, reassured us, “No, I think it’s good. We got it.” So, we decided to move on from that scene after professionally asking about the close-up. The following morning, we arrived and found two close-ups set up for the same scene, which hadn’t been communicated to us before. I felt it was important to express my displeasure, but in a way that wasn’t confrontational, given my age at the time. Later, I observed Mark Rylance, during an undercurrent of tension lasting around 90 minutes, assertively state, “This is completely unacceptable,” and have his words acknowledged and respected. We were then allowed to step away and prepare, taking as much time as needed.
Even then he was amazing. He was like,”I’m being a little bit of a bitch, but it’s a firm boundary I want to stand up for. Do you think I’m being too much of a …?” And I was like, “No, no, no. It’s amazing. I love you for this. It’s an absolute boundary cross, and I love that you stood up for that.” So I’ve never forgotten that moment, and the way he did it was firm but not unkind. He was respected and totally right, and I loved that moment.
From Sir Mark Rylance to Letterboxd, which is a seamless transition …
(Laughs.)
I truly enjoyed the four movies you selected for your Letterboxd segment. Typically, individuals opt for less conventional films, but I appreciate that you picked well-known favorites instead, as we both began with mainstream studio productions.
What did I choose again?
Titanic, School of Rock, The Matrix, That Thing You Do.
Those really are four of my favorite movies ever.
***
Caddo Lake is now streaming on Max.
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2024-10-13 02:55