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‘The Caller’ Tension Through Camera, Performance, Music and Lighting

Posted on the 26 August 2011 by Thevault @The_Vault

Another interview with Stephen Moyer about his new film, The Caller which opens this Friday, August 26.  

In this interview with, Stephen talks about how the tension in the film was created “the old fashioned way” through the camera, performance, music and lighting. He also talks about True Blood and this season’s King Bill.

Below is a portion of that interview.

‘The Caller’ tension through camera, performance, music and lighting

FANGORIA: Tell us about your role in THE CALLER.

STEPHEN MOYER: I play this character named John Guidi, who teaches mechanical engineering. And he first meets Rachelle Lefevre’s character, Mary Kee, when she comes into his class by mistake. We learn that he’s single. He’s a fairly simple guy who’s been brought up in Puerto Rico. We don’t get to learn why he’s single or what happened to him, because the story is told from Rachelle’s point of view. He becomes sort of a big part in her life and what is going on for her. And he tries to help her work out what on Earth is going on!

FANG: What attracted you to Sergio Casci’s script?

MOYER: It was very tight; there were no extraneous scenes. Everything leads on in a very beautiful way. I love old-fashioned filmmaking, and this is, in many ways, kind of an old-fashioned film. It’s done on film, not on digital. It’s shot without any special effects. It creates tension through the camera, performance, music and lighting. And it felt really great being a part of it. We had an incredible time.

FANG: The characters, John and Mary, have an emotional arc where they are supportive and compassionate toward each other. How did you and Rachelle build this emotional bond, creating the chemistry between you?

MOYER: When we got together, we sat down with the director, Matthew Parkhill. We tried to make sure that everything we were doing had a reason to be there, that there was nothing extraneous; that it was organic. When I watched the film, I felt that you really believe the genesis of their relationship. You really believe she’s not ready for him, but she ultimately has nowhere else to turn. He’s the first kind presence for her in a long time. It’s like anything that you do with a director: Who am I? Where am I? What am I doing? What is my reason for being in this scene? For every scene we did, Rachelle and I would sit down with Matthew and talk about what we were trying to achieve with that scene.

It’s a great shame Rachelle can’t be here for this interview. She’s working. She is phenomenal in this film. It’s an amazing performance. This will do wonders for her, because she’s brilliant in it.

FANG: In this season of TRUE BLOOD, the dynamic between Bill and Jessica has developed into more of a father/daughter relationship.

MOYER: I’m glad you picked up on the Jessica thing. That was really some of my favorite stuff this year. Deborah Ann Woll is wonderful, and to get to work with her…we really love each other. To be able to do anything with her always makes me happy. I’m really pleased to get to do that. She’s going to have a very long career. I love what they’ve done with Bill and her. In my head, at the end of season three, my feelings about it were that if I had one thing left, it was Jessica. Bill almost feels like he’s dying. He’s lost Sookie; he’s lost everything. But the one thing he’s got left is Jessica. Obviously, I don’t get to write the scenes. I don’t really get the choice on what to create. I was really glad when they put us together. I try to convey that he’s got this one connection, that sort of daughter connection. That’s been a lot of fun this year.

But also, at the same time, he’s been given this power, this importance. He doesn’t want to abuse it. He has to make some difficult decisions, like any politician does. That’s been a lot of fun too.

FANG: What are you working on now?

MOYER: I am going home to London for a few days to do some press, then flying back to LA to do a film called EVIDENCE, which is another little thriller. It’s really good, a great script. And again, going in for a few days on that, in the beginning of September. I’m really excited about that. It’s with me and Radha Mitchell, who’s a friend of mine anyway. I haven’t worked with her in a while, so it’s going to be really nice to do that. I’m still waiting on a couple of other things, some offers in, but I’m waiting on other stuff before I make any decisions.

To read the entire interivew go to:

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