TRAP : Josh Hartnett, Saleka et M. Night Shyamalan nous parlent du film
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À l'occasion de la sortie en salle de Trap, Josh Hartnett, Saleka et le réalisateur M. Night Shyamalan nous parlent du film et nous dévoilent des anecdotes de tournage.
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Interview : Drifa Maza
Montage : Stella Capitaine
À l'occasion de la sortie en salle de Trap, Josh Hartnett, Saleka et le réalisateur M. Night Shyamalan nous parlent du film et nous dévoilent des anecdotes de tournage.
Retrouve-nous sur :
TikTok : https://www.tiktok.com/@serieouslyfr
Facebook : https://www.facebook.com/serieouslyfr/
Whatsapp : https://whatsapp.com/channel/0029VaOluJU7tkjHAmo8Qo2j
Instagram : https://www.instagram.com/serieouslyfr/
Interview : Drifa Maza
Montage : Stella Capitaine
Transcript
00:00You can't go meet a serial killer and be like,
00:01so why do you do what you do, and how do you do it?
00:03Seriously?
00:08It's very difficult to take on a serial killer role because you can't go do research in the way
00:13that you usually would. You can't go meet a serial killer and be like,
00:16so why do you do what you do, and how do you do it?
00:18It was a question of reading a lot of books about psychopathy and about serial killers
00:22and getting a sense from, I think, all of those kind of investigative journalistic pieces,
00:27what it is that these people are after, and what are they...
00:29And, you know, bizarrely, serial killers seem to want to talk about what they do a lot.
00:33From my perspective, to be able to play this character well,
00:36I wanted to kind of focus on kind of plain psychopathy in that concept of someone who
00:43has no empathy and who is very goal-oriented and someone who has a ton of secrets and
00:48is leading a double life and just doesn't care that anybody else is affected by his double life.
00:52My character, I had to make that darkness intact, that serial killer mentality underneath,
00:57and then I had to kind of layer on this other surface veneer character that he plays very well,
01:02which is like basically your next-door neighbor who seems like a really nice guy who's good with
01:08his kids and his wife and has a good job and is an upstanding member of the community,
01:12and play that really, really well, maybe too well at times.
01:15So it's almost a little stilted, that character.
01:18You know, there's one scene in the movie, I won't tell you which,
01:21because then you'll start watching the movie differently,
01:23but we shot it three different times in three different periods,
01:27so it was months apart in the scenes, but you would never know that it was done months apart,
01:32but there's probably five months apart, all the different shots that are shot in this one scene,
01:37which was really interesting because we kept going back and changing one line and changing
01:42one thing to get it just right.
01:44Yes, I won't tell you which one.
01:49Yeah, many. I would say, you know, for the concert,
01:52especially like the aesthetic of the concert and kind of choreography,
01:55we took a lot of inspiration from, you know, big artists that you see.
01:58Adele was one of them, kind of how she does her ballads and, you know,
02:03commands a big stage with very, you know, intimate vocals, I think was one.
02:07Rosalía was another, and her choreography and her, you know,
02:12and kind of also beautiful vocals there.
02:16And then Rihanna was another one, you know, costumes and choreography and stage presence.
02:22And then Taylor Swift was another one we talked about a lot in terms of
02:25the culture that she's created and kind of her relationship with the audience
02:28is this very, very special thing.
02:30And this like, you know, this symbol of what art means to us
02:34and how it can affect generations and especially young minds.
02:42Am I being monitored or could, because Cooper would be interesting to be stuck with for one hour.
02:49I'd like to get to know him for an hour if he couldn't kill me.
02:52No, I wouldn't be able to change him. He's going to be who he is.
02:54But like, just to kind of get a sense of like what he's about,
02:58I would like to kind of know from his perspective.
03:01But for like someone I'm stuck with for a long time, I don't know.
03:05I think I would like to, you know, I'd like to get to know Zeke from the faculty
03:09or maybe even Frank from The Bear this year. He seems like a really nice guy.
03:17There were many, to be honest, there were many great, great moments.
03:20But there's a scene, I can't say too much, but there's a scene at the end of the movie
03:25that takes place in a space between two characters.
03:28It's a big scene and we shot it over a week.
03:32It's a lot of the schedule of the movie was just in this one place at the climax of the movie.
03:36I treated it almost like its own play between these two people
03:40and everything I shot very meticulously and getting the performances and just moving through it.
03:45And in the movie, it's like 12 minutes long, this moment.
03:48And for me, that's the part that I really kind of aimed the whole movie at.
03:57Raven was what, you know, I picked that, you know,
03:59from me and my dad kind of made that name together.
04:01Yeah, he gave a list of names and a lot of them were, you know,
04:05other more conceptual things.
04:06And I really like the idea of Raven.
04:08It's sort of a symbol in our family.
04:10And I really like this idea of this beautiful creature that is dark and can look scary,
04:16but is also beautiful and powerful and can fly and all these things.
04:20I think there's a lot of interesting imagery there.
04:23And then also just Raven, the dark hair, I think kind of fit.
04:26Night's a really generous guy and he's a very calm character on set.
04:35He likes to order coffees for the crew, but he drinks like the sweetest, most ridiculous coffee.
04:42You'll ask it.
04:42Are you going to speak to him today?
04:43Yeah.
04:44Ask him.
04:44Oh, you already spoke.
04:45So you can't ask him about his coffee order.
04:47So it's like a double, like double sweet, double, you know, caramel, you know,
04:51macchiato with nothing except sweetness and ice in it.
04:55It's more like, it's exactly right.
04:57Like it's not, he's nothing like the characters that he portrays that he makes in the film.
05:02And that's what I love about working with him.
05:03He's, it's a family atmosphere and he's such an easygoing guy.
05:06And then he writes these really dark things to play with.
05:09And so we had a really fun time making this film in spite of the subject matter.
05:14And I think it shows in the film.
05:20Let's start with the Lady Raven, the movement of the colors in her concert were talked about.
05:24What does it mean to her as an artist?
05:26What is she trying to say?
05:28And, and the red is, you know, dealing with pain and anger and something that hurt her.
05:33And so her kind of going through the fire,
05:35which is what we, what we use that area of the movie,
05:37the fire of the concert as she's dealing with those emotions and then mastering them to come
05:42out on the other side, which she, you know, which is white.
05:45And she, she has all this kind of power at the end of it.
05:48So she wears a lot of white.
05:49If it was like a graphic novel, The Butcher versus Lady Raven,
05:53on the butcher side, he's, he's, he, he drinks it.
05:56He loves it.
05:57He lives in that.
05:58So he walks down the hallways, they're red.
06:00He's in the bathroom.
06:01When he looks at the victim, it's all red.
06:02You know, he lives in that world and kind of it's, it's,
06:05he's totally comfortable with never leaving that color.