Thank you. That’s what I had. Thank you.[laughs]
What were some of the toughest scenes? The ones that you were most afraid of? The boat. [laughs] Everybody got sick. Only, well actually, sorry, only the actors got sick in the boat, which is weird, right? What does it say about us? About our constitution?
You’re sensitive? Sure. [laughs] Thank you. But that was hard. And I don’t like being wet. Sorry, I don’t literally like being wet for long periods of time. I don’t think anybody does. It’s unnatural and uncomfortable. And dancing through the wet and the wind and the cold. The scenes that I didn’t love doing were the scenes that just were physically taxing. But the emotional stuff, um, I don’t know, I could have done hunger and thirst all day, but I don’t know if it was maybe because I loved doing it, or I hated it, but I can’t figure out which, which is a weird place to live in. But I was proud of it when we did it, I was like, ‘Oh my god, that was a monster. We’re done.’ It was really just the camera operator, Sam, and myself. It was crazy. What a cool opportunity. I knew the dance already, and I knew the song, and I could sing live, and then they were going to use the live take or use the recording take. I think one of the hardest things, actually, I’m remembering now, was the week in the studio where I did ‘Beautiful Treasures’, which is a montage where I lose all my babies, and, like, Mona wasn’t feeling it yet. And we would come back the next day to the studio, and I was like, ‘Okay, so, should we try it more like talky, or whispering, or what?’ And she’s like, ‘No, I just want you to lay on the floor and just imagine giving birth.’ And I was like, ‘Yeah, I can do that all day, but I don’t know,’ - she was looking for something that I wasn’t offering up yet. And it’s partly because I didn’t do the scene, and partly because I was scared to fall apart in a sound studio before I was ready, but I realised that the singing part was just as important as the, like every piece is as important as the shooting of the actual scene on the day. When it’s going to be musical and movement-based, it’s all important. So finally, the third day we got it, and that was frustrating as all hell. But it’s, you know, it’s sad. It certainly honours that whole experience that people actually experience. And the reason Ann Lee started this whole movement was it’s so important to see that. And that’s why it was so graphic. Sorry about that.[laughs] I actually said, I was like, ‘Do we need a trigger warning?’ Because this is…
It’s a lot. Especially if you’ve gone through it. Like, you don’t want to see that. You don’t want to be reminded of that. But it is important. I mean, it’s hard. Sometimes you just don’t want to see blood coming out of someone’s vag-ina. But you know it’s not real blood but it could be. [laughs] Did you know? I don’t know if anyone caught this, but I didn’t realise that before they made underwear, women wore red skirts during their periods. And I had a very, very thick wool, red skirt the entire time I was imprisoned. Yeah, I thought that was interesting. You learn a lot. Bits of how it used to be. And you become very grateful very quickly. [laughs]
What else did you learn from the experience? Either from the subject matter or that time in history? God, I don’t know. It was really impossible to be a woman. Still, you know, it’s hard. But what I learned is that we haven’t changed that much as human beings. And that’s why it’s good to make these movies. To remind ourselves that we still need the same things and
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we’re still brought to our knees about the same things. And grief doesn’t change with the eras, with the centuries. We’re all connected. Time doesn’t change that much. Technology doesn’t change that much. And we are not that different than people back then or each other. And the fact that someone was able to create this utopia, this religious society, this community, based on just needing to love each other and feel safe with each other is so beautiful. It’s so simple. It’s so novel. We can learn from that. We can remind ourselves that this is possible and what she was able to do. Yes, nobody could have se-x. But that was because se-x, she thought, was the root of all evil. The root of why she was in so much pain. Because she had se-x and she got pregnant and she lost her babies. She had some logic there. Obviously, it doesn’t work. But the idea that taking that away could make you closer to wholeness. It’s kind of beautiful. And, I don’t know, she had nothing to lose. And when you watch somebody lead a group of people who has nothing to lose and is really just trying to create something that makes everybody feel better and happier and more part of something - it can change people’s lives. It’s wonderful. I think she’s nuts and also very cool.
‘
19
INTERVIEW AMANDA SEYFRIED
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