![]() But the honesty and the shared experience that they end up having around that campfire, you understand this is a really hard time and people either perish or survive, but no one gets out unscathed, unscarred. And you hate Tommy for bringing his havoc on her situation. When you hear story, we know and understand the history of the trauma she's gone through but when you hear the nuance of what she had to do to get to today, you hate the world around her even more for bringing more trauma to her story. But when you hear his story, and you hear what happened to him, you understand he doesn't know how to deal with it, so he wreaks havoc on the world, and there's something sympathetic about him. This movie builds off it, making you feel like you're in a western, but it becomes like theater and almost like Waiting for Godot, where two people must explore each other and, in a sense, both change - either physically or metaphysically - by their situations and their trauma. Unforgiven is like the ultimate reversal of that where the good guy becomes the bad guy, and the bad guy becomes the good guy. ![]() Let me just say the classic trope of a western is pretty definable who the good guy and bad guy are. ![]() Letitia, Jamie, and Michael worked on our dialogue and made sure that there's an honesty and an ownership to it, but Andy being like our leader when it comes to the script. For me, as a filmmaker, I really have been opening up that process to the actors. Firstly, the brilliant Andrew Pagana wrote the script, and he has such an incredible sense dialogue. From a director's point-of-view, were you ever concerned that the audience might not know who to root for here?Īnthony Mandler: Okay, you brought up a lot of points. As a result, it brings about an understanding of these characters and their motivations therefore, making it harder to identify protagonist and antagonist roles at times. When the characters speak, they speak their truth to each other. What's interesting about Surrounded is the dialogue sucks you in. The belief that she can have a life that she pictured for herself, and she deserves to exist in a society that won't threaten her dreams, and the willingness to fight for it. I can only add to that: The belief in her dreams. Wright: I think you made some great points just now about hope and survival. For you, Letitia, what was the lesson you believe Mo needed to learn the most on her journey here? Mo's character arc goes from hope to despair to survival and eventually hope again. I think that's the journey of the two characters. You're in control, you are the master of your own self. No matter what you've been through, you can always change that. The graciousness of Mo Washington and her spirit is the thing that keeps her going in the right direction - the direction toward hope and goodness. With everything that Mo has experienced, it will be so easy for her to go into that place - to go into that nihilism and burn the world that kind of mentality. Tommy is on a nihilistic journey, and he wants to bring people into that journey. So, it's the inverse of how people deal with the trauma and what they're bring with them and if they're going to change. I don't think anyone starts out as a menace or a monster they become a monster because of their conditions. Tommy is the way he is presumably because he's seen horrific things. Just how people deal with their experiences and what kind of life they're going to lead. I figured this out while we were making - and I don't think this was necessarily the writer's intention - but it felt kind of appropriate to add this extra layer of just how people deal with their trauma. I think that's what makes great characters. Jamie Bell: I everything that Letitia just said.
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