Please join me in welcoming
Myha’la Herrold,
Maria Bakalova, Chase
Sui Wonders, rachel
Sennott, and director Halina Reijn,
and our moderator, KCRW DJ
Tyler Boudreaux.
I know I've done it.
Yeah.
Clarkson.
Oh.
Look.
Here I am, the mother.
Of the queen.
Welcome to Summer Night Cinema,
a summer event series brought to you
by KCRW, the Hammer Museum
and the UCLA Film and Television
Archive.
Today, we welcome the director of
Bodies, Bodies, Bodies Halina
Reijn and cast members.
Maria Bakalova,
Chase Sui Wonders,
Rachel Sennott and Myha’la
Herrold.
Give it up, y'all.
Also, in case you're deejaying,
culture producer Tyler Boudreaux.
And this is the Q&A.
Let's get into it.
So, Lena, I read that
you actually played
a game with your friends very
similar to Bodies, Bodies, bodies?
Yes. When I first received
the first version of the script
that existed, I was very intrigued
because I have a very tight friend
group and we always used to play.
We call it more denial in my
language, which means murderer or
werewolf or mafia.
And it would always be total terror.
Everybody would cry, would be
horrible.
And then and it was total
psychological warfare.
And then two weeks later, we'd be
like, Oh, let's play it again.
So what about that experience
like inspired your direction for
this film?
I think for me the film is about
group behavior and
and are we animals
or are we civilized?
That's basically my main question
with this film.
Right.
And any of the cast,
have you ever played this game or
something similar?
We can kind of go down.
Yeah, we played it.
We played it. It was like an
icebreaker, which was probably the
most aggressive icebreaker with a
group of strangers.
That's interesting.
Tell us a little bit more about
that.
I mean, with actors, you really see
like who is who?
Actors are masters of manipulation.
So do we play that game where it's
like a test of who can lie the best
is like a real.
I feel like that immediately, like,
dropped us into the world.
It was awesome.
Yeah.
Yeah. Because you were the murderer.
Yeah.
It was like it was also my one.
But you never guess that I was a
murderer.
No.
Everyone thought it was me.
That's my.
Bad. I was kind of bullying you a
little bit. I was convinced it was
you.
Everyone thought. And then I kept
being like, It's not me.
It's not me. That makes like, yeah,
horror.
And Maria was silent the
entire time.
Silence. Always the silent ones.
I'm just saying. I'm just kidding.
So I have to say that watching this
film as a millennial, it was even
more disturbing because it
kind of felt relatable and it
felt like, you know, I could have
gone to college with this group of
friends and watching these
characters react to the absence
of social media and thinking
about how much we rely on our phones
as this buffer to reality
or to feel like comforted and
connected with each other.
I really want to ask you all
like I'm curious if there is any
aspect of your character or the
group or the situation that you
specifically related to.
Yes.
I mean, I, I
would love to believe that if I
were caught in that situation,
I would be that Jordan and be
like, okay, how do we protect
us? How do we find
the source of whatever?
I probably wouldn't be going towards
it. I would probably figure out a
way to like barricade, but
I'm definitely a doer.
So in that sense, I think I'm
quite like Jordan.
Um, yeah.
Yeah. What about you, Rachel?
We can go that way.
Oh, I was just going to say I would
drink.
I, i there were times where
I was, like, drinking in the middle
of it, and I was thinking and I was
like, I would totally drink
if I was there.
Yeah. Yeah.
It's like.
You. You would escape.
You would need to escape that
situation. I like the.
The film is like this, like posh,
kind of like prison.
I feel like a fun way to like
a like large picture to view
it. And I think, like, the fact that
there's there's this hurricane that
comes in and all our phones go away,
there's like extension of our body
that literally, like, you know, is
malfunctioning.
All of a sudden we have to, like,
confront ourselves.
And I think there is something like
I don't know if anyone's ever been
like camping or in the woods and
like suddenly had service for like 7
hours. Like, there's something like,
as much as we hate to admit it,
there's you have to, like, confront
yourself a little bit.
And I think this is like, you know,
the way goes most awry in
this in this movie.
So that that's very relatable to me.
What about you, Maria?
I don't think I would have behaved
the same way that my character is
behaving.
You know, will
they try to say somebody that I
love? Absolutely.
Will they try to, I don't know,
sacrifice my life to save them?
Yeah.
Will be there to like do something
like that, you know.
But maybe I'll join Rachel's club,
I'll get a drink.
I will try my best to
bring everybody together and lock
ourselves in a room and just
spend the night and do a mom that
is, like, bright outside and we can
start walking.
Maybe that's what I would have done.
Oh,
you know, is there a particular
aspect of the film that you
related to or
did it relates your like perception
of Gen Z?
I mean, yes, I think I mean, we
created it. So yes, of course.
And to me, all the characters
are parts of myself I feel
inside of my own character.
So yeah, we did a game actually.
Once we went to dinner, we were
like, Who are you in the film?
But I think I see myself in all
of them. And of course, Sarah
Dunlap, who, uh, you know, wrote
the script. So she's a playwright.
She also put a lot of herself
in it. So there's a lot of very
personal things in this film.
And Helene, I read that you asked
the cast to learn their lines like
they were rehearsing for a play.
And I feel like that fact,
along with the film being shot in
one location, really contributed
to it. Feeling like a stage
production.
Can you just tell us what it was
like directing that group dynamic?
Well, it was heaven because they are
so talented and
it was such a joy to to just be in
their presence and work with them.
And also, I'm 46, so I better
collaborate with them because it's a
film about their age, you know.
So I really had to really
work together with them and they
were amazing.
So I come from the stage
myself. I used to be a stage
actress, so that's all I
know. So I really wouldn't know
how to do it in another way.
But I did tell them like that's how
I would like to work.
And a lot of them have stage
experience. So I think everybody
lost it and we did really long
takes. So it wasn't that technical.
You know, we really tried to make it
like thrilling and fun and scary
and and not just, oh, now the close
up is on you and we're all just
going to go to sleep. You know, we
all had to be like alert at all
times. And that's very exciting.
And it also has to do with our DP,
who's also from Holland, Jasper
Wolf. And he shot also a film called
Monos. I don't know if people might
have seen that.
And there you see how wild and crazy
is, you know, jumping in the
waterfall with the actors and stuff
like that. And so I think we we
also experience all of that
together.
Let's talk about those long takes,
because there are some moments it
felt like you're just pulling the
audience into these raw
emotions and there is so much going
on. And I'm curious
to hear each of your perspective,
kind of these really
intense moments in
this film, like how was it
playing off of that energy
just in real time when the cameras
are rolling?
I think I too come
from a stage background.
So when I see like a 13
pager, which we had one of those
towards the end, I get super
excited because,
you know, when the camera stops
and you sort of take a break, you
can waver and how you're
in it. But when you have,
you know, whatever it is, a 20
minute scene with four or five
other actors and there's
guns and blood and someone
outside and a hurricane, all of that
is like
you have you have no choice but to
commit. And after a while you get
into a groove with each other.
And because we all get along
so well and we did prepare as
if it were a play, it gives
you so much freedom because once you
go, you go.
And Jasper was like another
character in that, because a lot of
the time those single takes
were just a roaming master, and we
would just say, okay, do it again,
and we're going to catch someone
else and see what happens.
And he was really playful in that
way, but I sort of felt like
I got lost in it, and I don't know
if anyone else can relate to that,
but you it starts to
feel real the longer you go.
So yeah, we were all exhausted by
the end of it, but that's cool
because our characters were also
exhausted and it like energizes it
in a twisted
way.
Yeah, I feel especially that
the party scene that we
were, we're all just kind of like
raging and dancing because we
did that. We had like a nine
hour party
each time.
Like when you're dropped into
a nine hour party, like it's
it's valid. Like different dynamics
are bound to happen.
Like weird love triangles
that had, like, kind of nowhere
in the script. All zones are popping
out, like, like boils, like,
after 9 hours.
So that part's really cool.
Like, all zone, like, backstory
comes about just throughout
the course of a day because of that
play like structure.
I feel like the longer the take, the
better the take was in our case
because yeah, Halina is theatrically
trained, Mihaela strategically
trained. I'm coming from theater
myself and we just enjoyed it a
lot. And yes, for as everybody
I've met is incredible, he's
just going out there and catches
things that you will never guess
that you'll do.
Right. Rachel, is there like a
moment you felt kind of lost in the
scene or in the moment?
Well, I just remember the first time
we did a long take, like the
first day where it was like
when Maria's character comes into
the room and we're all doing the
tick tock.
And like, in this script, it's
like they do it.
She talks like she walks in,
and then we're just doing it.
I mean, no, no, no. It was more
descriptive, but you know what I
mean? It's like a little.
Oh, no, you're right.
You're right. I love you.
And it's but it's always like a
line. It's like a very it's a
quick scene.
It's one of our first days.
Maria comes in and
we all just start talking and then
we're like, Drink the margarita.
We're all bullying her.
And it just kept going.
And I was like.
Like, how many sides can you throw?
Maria Like, yeah.
She's kind of
like, almost like felt like
it was like I there was like
a part in my head where I was like,
Oh, we got it right.
And then I like, let it go.
And we just kept going and it was
very like freeing.
And then I was like, Oh my God.
And that was the first day.
So I think we
were right.
Yeah, I know.
It was definitely there is
definitely a vote. I remember that
they were like like between these
were like so so the camera doesn't,
doesn't stop.
Yeah. Like really just.
USGO4.
So, Lena, you were loving
all of that, right?
Just behind the camera, like, stay
on them. Look.
It's just my.
It's only my second film, so what do
I know? But I sort of discovered
that with my first film that if you
just don't say, stop, the most
interesting things happen, you know?
And and especially with this,
because, again, I'm old, so
I'm looking for whatever
is authentic between them and
because they're all so good
and Improvization is just
so beautiful to watch them.
I mean, sometimes I could just
literally not get enough like with
the dancing and we literally sort
of locked them into the room with
the Oscar.
And we, we did go through the story.
We sort of knew what we were going
to do. But I really enjoy to
give them a lot of freedom because
we prepare so well.
You are able to do that and trust
the process and I absolutely adored
it. The editor, not so much.
He was like, Wait, what is happening
here?
So I loved how the film had
elements of comedy.
There were times where everyone was
laughing and then there were times
when people were like genuinely
like, Oh no, like, you know,
and the slasher and the thriller
parts are so, so exhilarating.
And it also felt like a parallel
of reality where, you know, Gen-Z
is growing up doing TikTok
dances while this
disaster is kind of looming in the
background.
So, so Leena, like,
how did you approach this
delicate balance between humor and
thriller?
Well, that's of course, and we all
were very aware of the.
When we started the biggest
challenge of this film and that that
succeeds or let's hope that
that's what it does is
is hopefully due to
our qualities and talent.
But it's also a lot of coincidences,
I believe, with any work of art.
It just is a buildup of so many
different elements.
But yeah, we really searched for
that tone and I felt I was so
worried about it because I thought,
if you make a joke, the tension
goes right. So then you need to
build up the tension.
How do I keep all of that balance?
And you also want some, you
know, emotional impact as well.
So I was so worried and then we had
the first table read and I just
knew it was going to be great
because they were all
so good and I was
literally laughing my ass off
already at the table read.
And I thought, That's a good sign.
And I and then we just
really prepared all of us really,
really well. They were always
rehearsing their lines even at night
in the horrible motel where we
slept.
So I feel, you know, we
just all dived into it and we
accomplished this tone.
I mean, if you like it or not, but
I'm.
Very proud of it.
So, yeah, you should be.
This is a great poem.
This is so good.
Yeah. Give it up.
Definitely.
In my last question before I want
to open it up to the audience
is the social dynamics
where there are so many, there is
privilege. You know, there was toxic
friendships, shallow friendships,
even maintaining friendships through
group chats, which is something
I was talking about with a colleague
and she was like, Yeah, that's I
don't know about that, but this is
like so relatable.
So relatable.
Drama goes down in the group chat.
But you know, I would say
like Maria, your character kind of
went through the biggest test
because you didn't have any of this
background.
And so what did you
like? Was there a creative process
that you kind of used to to tap
into those raw emotions when like
shit really hit the fan?
Well, it's very interesting because
I usually try
to find things that are similar
between me and a character that I'm
playing and the character that I'm
playing right now.
Not right now. Like last year.
Well, our shooting bodies, bodies,
bodies, it's pretty
closed and not communicative at all.
And she's trying to be somebody
else to try to fit the group she
meets. And she fell is, of course,
because she is not honest.
But it was very interesting to
develop a relationship
with, I don't know, with this
imaginary love
that she creates because it's built
on a lie. And Helena
helped me a lot to try
to, I don't know, believe
that I can be the outsider that
will. I don't know.
As I said at the beginning, tried to
sacrifice her life at the same time,
keep all these lies and secrets
hidden, which are also a reason why
she is one of the suspects
of the murders.
But when you have
a director who knows how to guide
you and make
you believe that you can go further,
especially in the letter
that we were shooting because it was
Jesus Christ so cold
and Carrie and just
somehow the sound of these machines,
rain machines, wind machines move,
which is like we're going
to a war right now.
It was scary.
I was waking up, but I was like, Am
I, am I still dreaming something bad
about happening?
It happened last night and
it was it was just set.
But it was it was interesting.
And I think the similarities between
me and my character be is that we're
both coming from a different place.
We're both coming from a life
that is not privileged.
And I personally
like to look at
projects, theatrical plays
or films that are following the
story of the outsider, like, for
example, Wicked.
So having the chance to play a
character like Be has been an honor.
Ryan Awesome.
Thank you all.
Let's open it up to does anyone
in the audience have a question?
I think the ushers are coming
around.
Let's see.
What was the funnest part?
The most fun.
Making new friends.
I know that's corny, but honestly,
like, true, we
we like each other, which I think
is not always the case.
And we really went through some
shit.
So, you know that that that
bonds you, that trauma bonds you and
so you know, it's nice.
And then especially like we get to
do things like this where we we
get to we're excited to like come
and talk about this film because
we are proud of it.
We're proud of each other.
We're excited for people to be as
excited about it as we are.
And that's not always the case.
Sometimes you hate the people you
work with.
We do not. So that's a privilege.
I think that was the most fun
for me.
I think it also makes a difference
that like everyone sometimes
with young actors, you know, who can
be on the various degrees of
genius or whatever, I think everyone
was so committed and it
was clear from the get go, like mean
it said from the table read,
everyone is ready, ready to drop
right in. And when you're
like by day two, you're covered in
blood, sweat and tears and have to
cry on each other's shoulders.
Like there's no choice but to, like,
feel a sense of camaraderie.
And it kind of mimics like
a war like situation, which,
I mean, we do not go to war.
It's no such thing.
But it, you know, has
echoes of that.
Well, I was just going to say also
being able to sit in complete
silence together like so
cold, wet and just be
like
like I was like trust you to
trust you for life after that.
What about you, Maria?
Yeah, well, I can only say that I
completely agree with everything
that you do now and to.
To out a little bit more, because
we're all the same age and
it's an ensemble film and it's
usually kind of scary to, to try
to find a balance.
And with this cast, I have
to say that I felt like everybody
supported each other from the
beginning till the end.
And if there is an option to like
even bring something more
to their performance right now,
their take, they were doing it all
the time and it was just delightful
to work in to create friendships and
families, because I believe that we
as actors or artists,
when we join the project, we spend
quite a long time and we get to know
people. And if you have
the privilege to create a family,
that's that's the most satisfying
part of it all, because
then it's post-production, Danny's
promotion, then it's like premiere.
And you see these people and
it's nice to see people that are
like.
You know, the most fun part for you.
Oh, I think just the whole journey
was for me, of course, coming
to America, you know, it's such a I
mean, I live here now.
I don't know what I'm doing.
Like it's changed my whole life.
So it's and just be witness
to these like they feel like my
children, even though I know that
they're way, that they're not my
children but I that feels
like that to me. So that's like
I just everything is fun to me
and a very challenging and tough,
but at the same time, I'm cannot
be more grateful.
She's a fun mom.
All right. One more question.
Hi, everybody. Good evening.
And thank you all so much for being
here. The film was such a joy.
I really enjoyed it.
My question was, what?
What was it like directing or acting
in an 824 film?
Because I feel like that studio has
become very specific
with the type of movies that they
try to release.
So did that inform your practice as
an actor, as a director?
What was that like working for that
studio?
I have one thing that I observed
about working on an A24 film
that I thought was genius is
not only are they amazing
in bringing together
creatives who will
bring this vision, but like
everybody on the set, the crew,
the people who fed us, everyone
somehow came with the vibe.
You know what I mean? Like
they were all excited about the
movie, whether or not they read the
script, but it wasn't like, Oh, I'm
going to work. And then
there's been occasions where I go
and I'm like, Oh, here's the actors
and whatever. And sometimes a crew,
people like, don't even talk to you
or say anything. And this time
around, I felt like they were all
like, you know what I mean?
They were really dedicated and
excited about what the film
could be, and we were all kind of
stuck on that island together out
there in the woods.
So there was like full production
camaraderie
and that I think A24 does really
well. They build an entire
production.
Seamlessly.
I think the evidence for me is that
they are capable
to let the filmmaker have a lot
of freedom and that you can
actually, even
though, of course, the company has
to make money and there's
commercial, you know, you have to
make the money back.
But at the same time, they do give
you creatively a lot of freedom.
And if you ask for rehearsal time,
they will try to do that.
And if you ask, you know, so I think
that is sort of their secret in
a way.
And and this, of course, are
also really good. And even though
this is also a dark film and a weird
film, they can sell it, you know,
and you see that with even more
extreme films that they make that
are considered arthouse.
And yet they they they find a
way to bring to bring them to an
audience. And I think that's super
rare and unique.
Yeah, I was going to just add,
I think that like from the get
go, you could tell that we
were totally clay like in
Holly and his hands.
And I think one thing
about just knowing, you know, the
brand and the casualty of A24,
I think we all went into it being
like, this is going to be genre
bending and there's no clear
there's not like a wire, you know,
there's no clear cut category
and A24 always breaks through
molds and barriers.
And so I think like knowing that
and rising to that challenge of
like, okay, let's try to make
something unexpected.
I think that was that was cool.
It was the dream, honestly.
It was a dream, I think, for all of
us.
Yes. Rachel, do you have any.
I was going to say, yeah, I
agree with all of that. I feel like
the freedom, the the
the mixture of genres
I think is really cool
because then the whole time
you're kind of trying to find that
balance and you're never
like comfortably settling into
something.
And I think that's really exciting.
Awesome. Well, thank you all for
coming out to summer night cinema
and thank you all for joining us.
Thank you all for
coming. Thank you to our partner,
24.