CraveOnline: What were the things that you had to come in and do…?
CraveOnline: Everything.
Everything.
Except for the chair going up and turning. Joel [Kramer], the stunt guy, was not comfortable with me doing that, and I completely understand, but he knew I was down for it and physically fit so he let me do quite a bit. Because I love physical stuff, so…
It’s interesting though, because you get to look at the stunt performer underneath that sheet, and I imagine when that sheet’s on top of you you’re kind of going blind. You have to feel it out, how real it would be. What was going through your mind? What was the difference?
It was like from my head to my toes. It was all of me. Whereas her movements felt more disconnected. But for me, it was… First of all, I found being underneath the sheet freeing, because you know, you’re out there on a limb. Of course there’s moments of awareness where people are watching you, the crew and so on, and you try to forget about it but it still feels vulnerable. But under a sheet, I’m not looking at anybody. I don’t know what’s happening. I’m in a bubble under here, and it’s sort of freeing actually. That helped me let go more and it just helped me be crazier. And angrier. Angrier, because I feel more trapped. So I had that extra trapping. Not only was I tied up, but now I’ve got a sheet over my face, so it was just, like, rage.
Was it hard to breathe under there?
A little bit. Nothing threatening, but it helped. Probably added to it.
When we start seeing the film it feels very much like an ensemble piece, and then as the story goes on it feels a lot more like a story about mothers and maternity and protecting your kin. Can you tell me about the transformation of your character from a lovable housewife to someone who’s infused with a lot of danger?
Yeah, you know it’s funny… Transformation doesn’t come to mind. In some ways it is, but it’s almost like abruptness or something. It’s almost like it doesn’t have anything to do with her. She is this particular person, who’s really very… I like her. She’s really healthy and normal. No neuroses. And then she’s hijacked, you know? And then it’s sort of black and white, day and night. It’s a suddenness as opposed to a transformative thing. So for me, it was almost like she was there a little bit, unlike Regan [in The] Exorcist, gone. Demon all the way there, a hundred percent. For us it was almost like 97% possession, which I thought was interesting and I liked that. Because I think it kept a connection to her for the audience.
I was sitting next to a woman I know… I don’t have any kids, but she does, and I think it hit her a little stronger than it did me, because she said she would just be terrified if anything happened to her child, and then she’s terrified of the idea that “she” might do something.
Mm-hmm.
Can you tell me a little bit about that? She’s a character who is very loving of her kids – and she’s got a huge family, I don’t know how she does it – and then… a threat.
Right. Yeah, I mean the good news for me, playing her, was that she has no consciousness of what was happening, and so I was able to put her completely away as I was dealing with the possession. So no moral issue here for her. So I’m just dealing with a real dark energy that I didn’t even have converse with much, because energies like that don’t really want to talk. They’re not up for discussion. If I were to try to talk to them, because I end up talking my characters, because I have to because it’s… First of all it’s kind of like, “I’m going to be playing you for a while. We gotta get a long here,” you know what I mean?
Okay. Yeah.
And with a demon you do not talk. And if you do try to talk, they’re going to shut you down. So it becomes sort of physical. [Laughs]
I’m actually fascinated by this idea of talking to your character. I don’t think I’ve heard of another actor specifically say it like that. Do you mean to say that you’re you, you’re Lili Taylor, and then you just create this other consciousness within you and you try to converse them, as you and them? Getting to know them?
Yeah.
What’s that process like? Do you just sort of find it in one day? Or do they ever feel false when you talk to them?
Absolutely. I could even say, “I’m sorry. I’m not here. I’m not buying this. I’m not…” And maybe they’ll say, “That’s okay.” I like when I play characters that are comforting, because with my insecurities they’ll say, “It’s okay.” They really are understanding me. But a mean one will say, “Guess what? You’re totally fucking up.” And then I’m like, “Oh noooo! Oh no!” You know? So that’s tough.
Who’s been nice and who’s been mean?
Valerie Solanas was! [Laughs] But you know what? She was so happy that she was coming to life that she was like, “Even though I have problems with you, I’m still glad you’re playing me.” The Addiction vampire was mean, understandably.
I would imagine so.
Rose from Dogfight was very sweet. Very, very sweet. Not surprising. If Rose had been mean, something wrong would have been going on, right? [Laughs]
William Bibbiani is the editor of CraveOnline’s Film Channel and co-host of The B-Movies Podcast. Follow him on Twitter at @WilliamBibbiani.
