How did you think about the way the Munchausen by proxy would shape Amma’s violent tendencies? There’s this interesting line from the book, where Gillian Flynn writes: “A child weaned on poison considers harm a comfort.” The idea is that Amma’s relationship with violence or death is shaped by the way that her mother raised and poisoned her. It’s a really small scene and a small punchline, but it was really hard. Amy and I worked together to realize that moment. He wanted that intensity of running away from something horrific that she’s done to find that she doesn’t have to run away and hide anymore-she can just let it go. So she’s just come from doing that, and she’s arrived at her door, and it’s a mixture of release and fear and horror. He wanted me to run up the stairs, because she had just come up from finishing her business with the last girl who she has murdered. How did he direct you to deliver that “don’t tell mama” moment? I’m already anxious enough.” It’s like it’s not even over even when the credits are rolling. Even that, it’s just like, “Jean-Marc, stop. I was still watching it through the credits, just recovering from the whole show, and then he’s interspersed shots of Amma strangling the girls that she’s killed. Even though it’s quite a simple line, it’s kind of hard to portray that sense of release, and at the same time terror, that her whole alibi has been uncovered, and her whole façade, her veil of innocence, has been removed. It was a lot of pressure having the last line of the whole show, and that was actually one of the hardest things, to be honest, to shoot. I loved the montage and the music interlaid with it. Less murder-y.” How do you calibrate that performance? Knowing that you were playing a murderer throughout the season, were there any points where director Jean-Marc Vallée was like, “O.K., tone it down. Spoilers for the Sharp Objects Finale Ahead with it-to see Amma give up, and to really see her struggling. I wanted to make it seem like she had been here before, and that she had resigned to this state of sickness, and almost this understanding that if she were to die, she would be O.K. I think with the other drugs, there’s a kind of complacency that she carries, and I wanted to portray that in the way that she moved around the house. It was filled with excitement and pleasure, and she was really happy to be in that state. When she went roller-skating with Camille, I think her high was very different. Yeah, I just think my main goal for those two different kinds of drugs was to find a distinction behind her attitude toward them. I’m not into drugs or anything like that, so I was looking up videos of people on drugs. How did you put those two different dazed performances together? You have to act two different kinds of drugged as well in the show, both in Episode 6, when partying, and then later, when poisoned. Vanity Fair: What can you tell me about working on Little Women? Scanlen spoke with VF.com several weeks ago about working with Gerwig, and then again about that twist-filled Sharp Objects finale this week, for Vanity Fair’s companion podcast, Still Watching. She’ll be playing the winsome Beth March-a far cry from Amma-opposite Emma Watson’s Meg, Saoirse Ronan’s Jo, and Florence Pugh’s Amy. An Australian native and only 19 years old, the actress not only executed a convincing American accent, but learned how to roller skate after landing the Sharp Objects role-and got good at it fast enough to glide effortlessly through a majority of her scenes in the series.įor her next project, Greta Gerwig’s star-studded Little Women, Scanlen has some new homework: piano practice. Asked to play both sugar and spice as Amy Adams’s complicated younger sister, Amma Crellin, Scanlen revealed incredible versatility and depth over the course of eight episodes. Anyone who watched Sharp Objects on HBO this summer is well aware that the show’s young star, Eliza Scanlen, has an enormously promising future ahead of her.
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