Question: What is it like for an actor to play a character without emotions?
Answer: It’s surprisingly strange, because your natural instinct is to feel something, and then to try and rein that in is a completely inhuman way of interacting. Drake’s style, the way he wanted things conveyed was very small and subtle and contained because it’s an awakening for these characters. So it’s a different challenge, but something I really enjoyed exploring with these guys.
Q: How did he work as a director?
A: He’s someone that’s so passionate and is really making movies for the right reasons. And it’s very collaborative. He creates an environment where you completely forget that you’re making a film, essentially. You capture moments that are very real and honest, and that’s all he wants. You completely lose yourself in it, and it’s rare, you know. Normally there’s a rigid format — action, cut, and you do your job between those, which is not how this worked at all.
Q: How did you prepare. Was there a lot of rehearsal?
A: This was like the least rehearsal ever. It was very much about exploring in the moment and keeping the cameras running and doing long takes and improvising. Rehearsal had a lot more to do with Drake, Kris and I getting to know each other, being comfortable with each other and trusting each other, that there was that safety blanket around us.
Q: Did you bond with Kristen Stewart over having been child actors?
A: Not really. That’s something that’s obviously part of our lives. Part of the thing that makes us similar is the fact that we’re not really in the classical world of acting and trained particularly. We’re both very curious people, and she’s incredibly smart and in touch with her emotions. So she’s inspiring to be around. She’s very passionate and cares wholeheartedly about film and telling stories, and also that moment right there. So it’s wonderful to be in scenes with her, because the smallest flick of an eye or quiver of her voice, you pick up on so little.
Q: The film was shot in Japan and Singapore. Was that an adventure?
A: We traveled all around Japan, because there was one architect (Tadao Ando) who designed all these museums and universities and offices, these immense glass and steel structures which were so clean and futurist and wonderful angles for John (Guleserian), the DP (director of photography), to light. They were part of the makeup of the movie.
One of the amazing things about making films on location is that very few people are from there. It’s an experience you’re all having together. You all stay in the same hotel and you live together, basically, for months. You get very close, and you’re having all these firsts together. It draws everyone much closer together than if you’re making a film while people are living at home and have very separate lives and worries in the real world.
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