Rebecca Hall on the appeal of the profound uneasiness that exists in her new movie 'Resurrection.'
. Below, she talks about the appeal of the new movie’s profound unease, inspirations from Greek mythology and theater, and her character’s haunting seven-minute monologue.I think it hit me at a very specific moment. I had just wrapped [shooting] on, but hadn’t done any of the editing or postproduction yet. But I didn’t feel like, “Wouldn’t it be nice to do something low-key and not very pressurizing after this intense experience of directing something?” I had the complete opposite reaction.
Aside from everything else, these feelings also feel very present right now. We’re in an unprecedented time of anxiety and existential terror, a feeling of “how are any of us in control with what the hell is happening in the world?” I think this is why the film gets under people’s skin. It’s not because everybody has an experience of being in an abusive relationship—although I know many people who have, tragically.
There’s definitely a simmering theatrical quality to the movie’s face-offs. I thought of Harold Pinter, or Edward Albee’svery theatrical and heightened. That was part of what appealed to me.I have had other experiences on the stage, where I’ve had to deliver huge monologues. I don’t think anything will be as hard as the one I had to deliver in, which is this expressionistic play written in the ’20s, because it's probably five minutes of utterly unconnected thoughts.
When I last interviewed you, you talked about mapping out your characters on paper. What does the map look like for Margaret? It’s very big and very intense. I do that for everything. I even did it when I was directing, for all the characters. Margaret’s one looks a little insane. But it’s a tool that I can't be without, because I think my most important responsibility to the director is to deliver a performance that's cohesive, so that when you get the edit, you stand a chance of having something that holds together from A to Z and goes on a journey.
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