The Undoing’s Nicole Kidman breaks Grace’s ‘horrible, horrible’ day trip of Hell: ‘I used to be fairly excited’
Talk about Grace under pressure. For this tense, harrowing final sequence in The Undoing am Sonntag, director Susanne Bier informed Nicole Kidman and Hugh Grant, who appear as the seemingly perfect Manhattan couple Grace and Jonathan Fraser, that they had an extremely short time (we’re talking about minutes). to nail the central scene.
While filming on location on the eastern tip of Long Island last year, Bier said she wanted Grace and Jonathan’s alternate terrifying and nerve-wracking “reunions” to take place under the haunting light that only dawn could provide.
“There is half an hour in which the light is actually a blue color,” explains the author TVLine. “And I made a very unwise decision [to] shoot this scene [in that tight window]. And it’s a huge, damn emotional scene. So we rehearsed it and we rehearsed it and then we waited for the light to kind of come down and we started shooting. We literally had half an hour to shoot this whole scene. “
In the sequence, Grace is shaken when her fugitive husband Jonathan – who she has just learned about led a double life and possibly – possibly – murdered his lover – forcibly grabs her from behind, covers her mouth and confesses to his innocence . When he finally lets go of his hand and Grace is allowed to speak, she discharges a torrent of anger, fear and grief on him.
Bier says she was overwhelmed by the duo’s performances. “They both just tried a crazy, crazy way,” she recalls before adding Kidman. “Here’s the thing about Nicole – she can go on forever.” She is unbelievable. In theory, I could have asked her to do this scene 15 times, and she would have done just as well [each time]. But because of that crazy pursuit of shooting the light, as far as I remember, we shot it three times. “
Below, Kidman shares her POV shooting the emotional Roller Coster that was episode 2.
TVLINE | Susanne told me you only had half an hour to block this last veranda scene. Do you work well under this pressure?
I was pretty excited from this stage [just by] the nature of being in a full series and the emotional journey Grace continues. It was interesting because it was so tangible. Hugh and I were both excited. The idea of this clock ticking … we just had to jump in and do it. I’m a performer who says, “OK, let’s do it. Let’s capture the magic if there is any. “And that’s exactly what we had to do in this regard. There were some blocking questions, but when we went off and ran we were there. Susanne is strict. She pushes you, which is awesome because of it [elevates] the quality. And the location was beautiful too. It was isolated and bare and, strangely, very Scandinavian.
TVLINE | The scene requires you to go to so many different places emotionally in a matter of minutes. How did you thread that needle?
When someone disappears and there are all of these things that they did to you – the lies – you have so many questions and there is so much anger. Your whole life is completely devastated, however [at the same time]… She is in love with him. So the wish that he tell the truth. It is based on the wish that he didn’t. Hearing him say, “I had an affair, but I didn’t. I didn’t kill this woman. “And for them it’s like,” Please let that be true. I’m so mad at you. You destroyed everything and how dare you have an affair but my god you didn’t kill a person and I didn’t think you did. “Those are the things that collide. But then you cheated on me too, you destroyed our lives, you destroyed the lives of our sons, you are a liar … It’s a catastrophic collision of emotions and intellect. And then there is: “Are you going to kill me ?!”
TVLINE | Grace had a day before hell. I mean the hits just keep coming …
It’s awful. All of it. It’s awful. [Laughs] You lay in bed the day before and had a nice morning. [She’s like]”How can you do this to me? I trusted you with my life. I trusted you with my heart. I trusted you.” And it’s all just broken. When I first read [the script] I didn’t know what it would take to be completely real. And I also didn’t know that Susanne would shoot it the way she shoots it, where it almost goes into my head. It’s like, “Oh my god, you’re inside of me.”
TVLINE | Did it make you uncomfortable when she said, “OK, I’m going to take an extreme close-up of your eyeballs.”
I just want to do real work. I want to work with someone who will come to me and explore and use all their passion [into a project]. I want to work with artists. So I’m completely open to people who have the same passion and the same desire. I’m really attracted to it and I want it and I feel very safe when I’m with someone like that. What I don’t like is when I work with someone who is a little bit casual and doesn’t really care. Then I say, “This is not the right combination.” Because I go home at night and my dreams are affected and my whole life is affected. But that’s my artistic choice and my commitment to what I do. And Susanne is like that. So I said, “Whatever you have to do to tell this story for people to feel it. Don’t just watch it from afar, take a trip and feel it. “We hoped for that.