As a film enthusiast who has been following Alexandre Aja‘s career for quite some time now, I must say that his journey is truly inspiring. It’s fascinating to see how he never really stopped creating and innovating, even after the success of Crawl. His passion for storytelling and his commitment to his craft are evident in every project he undertakes.
Starting from 2019, French filmmaker Alexandre Aja has garnered the most positive critiques of his career for a set of three genre movies, which include Crawl, Oxygen, and his recent offering, Never Let Go. Starring Halle Berry, this survival-horror-thriller follows the character “Momma,” a single mother who cares for her twin sons in what appears to be a post-apocalyptic setting. Living in a secluded cabin, they must remain connected by rope whenever they wish to leave and scavenge for food, as an ominous force can’t possess them otherwise, with the intention of eliminating them.
Just as anticipated, Halle Berry, who won an Oscar, delivers another captivating performance. However, it’s her role as a producer that truly shines, particularly in the crucial task of finding the ideal young actors for Momma’s companions. Determined to ensure the film’s success by securing the perfect cast, Berry persisted until the Never Let Go team had exhausted all possibilities before hiring Percy Daggs IV as Nolan and Anthony B. Jenkins as Samuel. Both actors turned out to be standouts in their roles, thanks in part to the keen eye of casting director Rich Delia.
As a dedicated fan, I’d put it this way: “I realized their significance would be equal to mine in the movie. They truly are spectacular, and let me tell you, some of the praise is due to Halle. She tirelessly urged us throughout the audition process, insisting we didn’t settle until we discovered these incredible young talents.” (This quote is paraphrased from Aja speaking to The Hollywood Reporter.)
2019’s “Crawl” is Alex Aja’s most successful movie so far, earning critical praise and grossing $91 million at the box office. What’s more, renowned director Quentin Tarantino praised it as his favorite film of the year, a high honor for Aja. In fact, this compliment was shared with Aja by their mutual friend Eli Roth back in November 2019.
It was a delightful shock. My friend Eli Roth phoned me to say, ‘Hey, Quentin enjoyed watching Crawl immensely.’ Then I came across an announcement about it online, so discovering that he genuinely appreciated the film made my day. You never know how movies will be received, but when you find an audience that includes not only critics and respected peers, but also those whose stories you admire, that’s why we continue to tell tales.
Due to these recent developments, Aja intends to create a follow-up film by 2025. The original producers, Sam Raimi and Craig Flores, are coming back on board, and although it’s planned for filming in Europe, the narrative is said to be based in New York City with a fresh group of actors.
Aja expresses that she’s essentially been moving forward, albeit slowly like a crawl, throughout these challenging times with Covid. She’s hopeful that next year might be when things finally take off for her. Needless to say, she’s eager and prepared. She’s all set and ready to go, having planned numerous scenes already. All that remains is to dive back in and make it happen.
In a recent conversation with THR, Aja delves into the multiple meanings of Never Let Go and shares which themes resonated with him the most.
In your last three films, the protagonists find themselves in narrow settings where death seems imminent. Is it possible that you’re particularly fascinated by this particular plotline for some underlying purpose?
In some mysterious way, I often find myself in such predicaments, and I truly appreciate this setting. It offers me a chance to construct a confined universe. Looking back at movies like ‘High Tension’ or ‘The Hills Have Eyes’, I have always admired the ability of these stories to induce claustrophobia within a single location. Being with this mother and her two children in a world that has been devastated, trapped within their home by ropes, provided an excellent platform to explore the concept of being isolated (cabin fever). These extreme scenarios are fantastic for unveiling the true nature of characters. Thus, stories like these are my favorite, and I am deeply fond of them.
What did you initially think when you encountered the idea presented earlier about a family who must be connected by a rope in order to leave their home?
The idea struck me as incredibly intriguing, with layers of profound symbolism. While engrossed in the narrative, it evoked memories of classic fairy tales. It transcends mere amusement, serving instead as a mental exercise to confront our personal demons or shadows. The thread motif was undeniably reminiscent of a fairy tale, yet it maintained a connection to reality. We may not be physically tied by a rope, but we are metaphorically bound by it throughout our lives. As parents, we often shield our children from harm by passing on the same fears we experienced, and it’s crucial to break that cycle, to cut that proverbial rope. The story piqued my interest because it underscored the importance of avoiding the repetition of our parents’ darkness, enabling us to live freely.
In your story, you suggested a resemblance between the plot and the classic fairy tale of “Hansel and Gretel.” I noticed that there’s a scene where Momma (played by Halle Berry) reads from this tale to her sons. Was it your addition to the script to include this specific moment?
Absolutely! In this strange and rule-bound universe, there are rituals like blessing the house and the rope that I find myself compelled to follow. The consequences of breaking these rules can be dire, as one could potentially fall victim to “The Evil” and its manipulation. To make sense of this world’s perils and understand its intricacies, it seemed only natural for Halle Berry’s character to regale her twin sons with countless fairy tales. These stories, too, are laden with their own set of rules, making them an ideal means of imparting wisdom in this new realm they find themselves in.
In the film, it’s undoubtedly Halle Berry who shines, but Percy Daggs IV and Anthony B. Jenkins, playing her sons, also get a significant amount of attention. Did you find it impressive that Halle willingly took a backseat to focus on the narrative rather than screen time?
It seems we all felt the weight of that balance, and she was confident they would play crucial roles in the movie. Finding suitable actors who could match her intensity and build a tense family dynamic was our main hurdle. This search took considerable effort, especially when it came to casting the children, but we were fortunate to discover Percy and Anthony, who portrayed Nolan and Samuel. They’re truly exceptional talents, and I must acknowledge Halle for her persistence during the audition process, pushing us to continue our search until we found these remarkable young actors.
Yesterday, I clarified the plot of ‘Never Let Go’ to an actress, and she wondered if it was a space-set story. Upon reflection, her query wasn’t entirely far-fetched.
(Laughs.)
This family lives in cramped quarters where they must conserve food and cooperate closely, with the risk of death if they step outside unattached. Has anyone else compared this situation to a space film before?
Absolutely, the metaphor of a rope serving as a lifeline holds a striking resemblance to the concept of living in space. Just as space is an incredibly hostile environment for humans, it necessitates a complex system for survival. In this context, you could consider the ‘Evil’ force lurking outside the forest as analogous to the dangers of space. Therefore, we indeed discussed the topic of space during our conversation.
One of the boys’ boots are so big that they kind of look like astronaut boots.
Indeed, they’re required to don whatever articles were abandoned, which means they end up wearing shoes that will likely be too large for another decade or so. Interestingly, both boys are sporting garments typically worn by adults. This sparked my imagination when collaborating with the production designer and the team, as we strove to construct a world where nothing seemed overly convenient. Every aspect had to present challenges. Enduring any season becomes a difficult task, particularly since our setting is confined within a radius of about 100 yards from home.
Was the entire film shot using a regular rope, or did you modify it for added authenticity during the struggle scenes?
It wasn’t necessary for you to add more weight since the ropes were already quite heavy in themselves. Carrying a hundred yards of rope on your shoulder can be quite a challenge, let alone! The actors had to undergo rigorous training to master handling the rope and make it appear as if they had been doing so all their lives. Working with the rope in a forest and having to run and jump around the trees necessitated constant vigilance to avoid getting tangled. Therefore, I aimed to develop several reflexes in them, which required considerable effort.
[The next question alludes to a spoiler, though the marketing has set the overall expectation.]
Is there perhaps a well-known picture or internet joke featuring a young girl flashing a mischievous grin, while a house is burning in the background? This image, often called “Disaster Girl,” has been around for 20 years. Could this have served as the inspiration for a similar scene in the movie?
Indeed, it’s not something I was familiar with. As a matter of fact, being French, I hadn’t come across “Disaster Girl” before. Let me look it up immediately, as I’m now curious about it.
Who is the brunette in that additional Polaroid picture, as she doesn’t resemble Halle Berry at all.
(Laughs.) It’s her!
No way.
Indeed, I noticed she’s sporting a blonde hairstyle this time around. The character might have seemed different initially, but there’s no denying it’s her. It was among the earliest scenes we filmed prior to the official production kick-off.
I was absolutely thrilled when I learned that you’re working on a follow-up to the movie “Crawl”. It was one of my top picks from 2019. Could you give me any updates about it at the moment?
Instead of stating that I’ve been continuously working on a sequel to Crawl (chuckles), let me put it this way: Since wrapping up the original film, my mind has been brimming with innovative ideas for additional setups. Making this movie was such an exhilarating experience that I couldn’t wait to be part of a sequel. Unfortunately, we faced some challenging years due to Covid-19, but now, I believe we have reached a point where, hopefully, next year, the sequel will become a reality. I’m eager and prepared for it; I’ve already lined up numerous scenes and concepts, so all that remains is to jump back into the water and start filming again.
Wasn’t it a pleasant surprise for you to learn that one of your films was among Quentin Tarantino’s favorites in 2019? Did his endorsement make you feel quite honored?
It was a wonderful surprise indeed! I was absolutely thrilled. Previously, I’ve crossed paths with Quentin on a few occasions, and during one of those meetings, we shared a dinner in Paris before I started working on Piranha 3D. During our conversation, we were discussing various scenes and ideas, which made me realize how much he appreciates this genre of films. Later, my friend Eli Roth phoned me to share that Quentin had watched [Crawl] and really enjoyed it. Then I noticed the official announcement online, so knowing that he appreciated the movie was a truly heartwarming moment. It’s always uncertain how movies will be received, but when you discover an audience, including critics and peers who admire your work, it makes all the effort worthwhile, and keeps fueling my desire to tell more stories.
Are you nostalgic about the fact that Lionsgate, who launched your U.S. career with the release of High Tension twenty years ago, is now releasing Never Let Go?
Absolutely, it was quite intriguing as we embarked on “Never Let Go”, which coincidentally came 20 years after Lionsgate acquired “High Tension” for the U.S. market. This made it feel like a satisfying full circle, and it’s worth noting that some of the individuals who bought “High Tension” two decades ago are still part of Lionsgate. It’s a wonderful sense of unity and continuity, and I found it truly delightful to collaborate with them once more.
To wrap up, it seems to me that your most recent three movies are your finest works yet. Does this success make you feel more confident in your role as a director?
I’m thrilled to hear your words, and I sincerely hope they hold true for me. I aspire to improve and grow with each film I make. Each movie offers a unique tale, an exciting journey, and the opportunity to encounter new characters. Working with actors on storytelling and the creative process has become more enjoyable for me. Additionally, I’m becoming more conscious of what resonates with me as a viewer and what I wish to express through my films. As a moviegoer, my instincts still guide me before those of a filmmaker. I strive not to focus on what people might want to see, but rather on what would captivate me as an audience member. If fortune favors, others will share the same enthusiasm. (Chuckles. ) With each new movie, I endeavor to explore fresh territory, to avoid retracing old steps, and to reinvent myself in a way that makes each project feel like my first film again.
***
Never Let Go is now playing in movie theaters.
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2024-09-21 01:55