Rose Byrne, Mary Bronstein on ‘If I Had Legs I’d Kick You’: “This Project Started From a Very Low Place”

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The competition for the best actress Oscar for next year is already gearing up, with Rose Byrne’s powerful, existential performance in writer-director Mary Bronstein‘s intense comedy-thriller “If I Had Legs I’d Kick You” setting a high benchmark.

In the movie, Byrne plays Linda, a therapist and mother who finds herself in a spiral of troubles. Her daughter is battling an unknown illness that demands constant attention through a feeding tube, her husband’s absence on business leaves her alone, her patients encounter unusual predicaments, her own therapist turns against her, and a leak in the apartment building causes her bedroom ceiling to collapse, leading them to live temporarily in a less than ideal motel. The film focuses on Linda, using tight close-ups to capture every emotional tic of Byrne’s powerful and intricate performance, as she navigates through a series of increasingly strange daily struggles, searching for help or respite but finding none.

In a remarkable dual performance that doesn’t draw attention but impresses, Conan O’Brien takes on the role of Linda’s therapist, and ASAP Rocky portrays the charming superintendent at her motel.

Or, in another version:

Conan O’Brien and ASAP Rocky deliver subtle yet impactful performances as Linda’s therapist and the charismatic motel superintendent respectively, without distracting from the main narrative.

In his second directorial venture as a writer, Bronstein follows up his 2008 hit, “Yeast,” which featured a young Greta Gerwig. The latest production received positive feedback at this month’s Sundance Film Festival and will be screened in the Berlin International Film Festival’s main competition next week. A24 is set to release the film this fall, with an awards season strategy being planned for Bryne.

Prior to the premiere of the movie in Berlin, THR spoke with Bronstein and Byrne about the making of the film.

Could you share with me the origin of your creative ideas for the project? In other words, how did the concept and vision for this movie develop in your mind?

Approximately seven years ago, I faced some extremely difficult health complications with my daughter that necessitated our move from New York to San Diego for medical care. For eight months, my daughter and I stayed in a tiny, economically-assisted hotel room located in an odd motel. Due to the circumstances, I found myself displaced, overwhelmed, and feeling the strain. Despite the ongoing situation, I persistently viewed it as temporary. With no personal space of my own, at night when my daughter would fall asleep, I would retreat to the bathroom floor because it was the only place I could leave a light on.

At a certain moment, I found myself steering the situation, unaware that I was doing so, by transforming it into a written work. Creating art gives us a sense of direction. Thus, that’s where I began. This venture originated from a humble beginning.

Rose, I wanted to ask you… 

Rose Byrne Hi there! Fancy my beverage? (Proudly displays a big glass filled with vibrant green liquid and takes a taste)

Is that Mountain Dew? 

Byrne May as well be. It’s disgusting. Sorry, go ahead. (Takes another sip.)

What drew you to the role, and how did you prepare for this incredibly intense performance?

Byrne Reading the script left a lasting impression on me. As an actress, opportunities like this don’t come often. I became utterly captivated by it. Then, I had the fortunate encounter with Mary, and we instantly connected. This was during the Hollywood strikes when the entire industry was undergoing significant changes, providing us with ample time to collaborate on our characters. Three days a week, I’d visit Mary at her apartment, where we would meticulously discuss every detail of the script – from dialogue, descriptive passages, and even each word on the page. All the preparation we put in during those months was reflected in our performances. I’m truly grateful for the entire experience.

I’d like to discuss the style in which the movie was filmed – the intense use of close-ups and handheld shots that create a sense of claustrophobia. Can you share your experience acting within such an aesthetic, Rose?

Byrne Mary described it perfectly by saying she wanted to be behind Linda’s eyeballs. 

Bronstein On the first day, the initial shot was an extremely close-up of Linda’s face, causing Rose to question its necessity, as she wondered if the level of closeness was truly essential. This was because we were filming using 35mm, implying that the information obtained would decrease in quality with each use of a zoom. Consequently, we were very close to her face during filming, and due to the use of a film camera, Linda could hear the camera operating at every instance, recording her.

Byrne This is a technical tweak, and you’ll soon get accustomed to it. Honestly, I didn’t want to mess things up. I knew the experience would be quite intense for the audience, but when I saw myself in some of the footage, the cinematic style was more than I had ever imagined. I was really thrilled to be involved in this artistic vision.

Hey Mary, it’s intriguing to know more about the considerations behind choosing Rose for the role. I must admit, I was curious if you thought her knack for comedy and endearing charm would help take your narrative to new heights.

Speaker: Absolutely, without a doubt. As I was penning the script, it was completely unadulterated and devoid of any specific performer in mind. However, upon completion, I found myself wondering, “Who on earth is going to bring this two-hour long character to life?” The role required an actor with a captivating presence capable of drawing the audience in scene after scene. It was essential that they could make subtle choices with their facial expressions as well. Additionally, I feel that if you’re asking your audience to delve deep into emotional depths with you, it helps significantly when they have a favorable initial impression of the character upon first sight. Rose Byrne perfectly embodies this role, eliciting warmth and goodwill from those who hear about her involvement in the project. This positive predisposition is crucial for our film since it has both comedic and dark elements, with the humor being particularly somber. Performing such black comedy requires a delicate touch, which Rose possesses in abundance due to her comedic instincts and flawless timing.

In Byrne’s words, placing a captivating character at the heart of a tale often leads the audience to secretly cheer them on, regardless of their flaws or questionable actions. However, Mary showed a clever knack for introducing familiar characters in the film and encouraging viewers to form an unusual bond with them. For instance, Conan’s portrayal as the therapist might initially seem like a charming wink to the audience, but his character and performance were unlike anything we’ve previously seen from him. This fresh context transformed him into an intriguing new performer. Additionally, he appeared without his usual TV makeup, giving him a distinct look and lighting that added to the overall appeal of his role.

I was amazed by how quickly he disappeared into his character for me. 

Bronstein He placed such unwavering faith in the proceedings and followed along without questioning. Essentially, he said something like, “I’m not sure if I can pull this off, but let’s give it a shot.” Remarkably, his character was full of wit, yet he chose to forego his typical comedic flair. However, when the curtain fell, it became evident that he was an exceptionally skilled actor, technically speaking. I believe he even surprised himself with this unexpected display of talent.

I’d like to discuss the film’s perspective with you both. It appears that the movie is portraying the events and characters from Linda’s traumatized, distressed viewpoint, which makes everything seem exaggerated and warped. I was curious if you believe this distortion extends to how she perceives herself – perhaps she’s not as reckless or out of control as the film suggests. It’s possible that her self-criticism is being reflected in the narrative.

Byrne That’s interesting. I like that way of flipping it.

In Bronstein’s own words, he explains that when writing his script for the movie, he aimed to delve into Linda’s mindset, as she exhibits a strong sense of being the main character, which he describes as “main character syndrome.” Linda is already struggling and is not at her best, with more hardships yet to come. He wanted to create this story from his personal experiences to make it relatable for a broader audience. As a result, we experience the story through Linda’s perspective, questioning whether the doctor is truly being unkind or if it only seems that way, and whether the hole in her apartment ceiling is as problematic as it appears. Bronstein admits that he doesn’t have the answers to these questions because we are sharing Linda’s mental state. This is why the daughter is not shown until the end, as Linda does not truly perceive the child. Instead, the daughter serves as another source of stress and burden for Linda, reinforcing her feelings of victimization. The objective was to immerse the audience in Linda’s emotional journey, making them question their own feelings about her, without showing the little girl and potentially eliciting sympathy towards her instead. This unconventional choice to keep the daughter always present but never shown was crucial for achieving this goal.

How do you feel about her? 

Byrne We love her. 

Bronstein Spending so much time with Linda makes her feel almost like a real person to us. Whatever actions she takes in the movie, we could justify and argue for. However, if someone finds her dislikable, that’s wonderful. Our goal was to provoke audiences into having a conversation with themselves, such as “Why did I not like her?” I believe the reasons people come up with will be intriguing.

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2025-02-15 22:25