The Silencing, the upcoming offering from Saban Films, paints a tense yet beautiful portrait of fear and loss amidst the backdrop of Ontario. Belgian director worked with Annabelle Wallis (The Mummy) and Nikolaj Coster-Waldau (Game of Thrones) to develop two complex and enigmatic antiheroes trapped in a cat-and-mouse game beyond their understanding.
As the new sheriff of the town, Alice (Wallis) must pick up the trail of a murderer who may be connected to the disappearance of Rayburn's (Coster-Waldau) daughter years back. The investigation is compromised, however, when certain elements of it hit too close to home for Alice.
Wallis spoke with Screen Rant in advance of the film's August 14 VOD release and shared her insight into the filming process. She explained by a character like Alice Gustafson was so appealing to her, how language barriers enhance filmmaking, and what other projects she's working on in the near future.
How did you first get involved with the project?
Annabelle Wallis: Well, I got sent the script. And I love a thriller. I think that in the 90s, there were all these great thrillers. I was like, "Where are all the thrillers?" when I found this.
And I also love flawed female characters. I love the truth behind a woman in that environment. I hadn't played someone like that before. I was like, "Ooh, look at this stoic, kind of unlikeable character." You're not playing to the audience; she was not written to be the heart and soul of the movie. I thought that was a challenge and different.
I also loved the idea of helping Robin Pront, who has developed in Belgium and Europe and has done so well, with his first English language film. I love the idea of helping or being part of someone else's opportunities.
Speaking of it being his first English language film, I heard The Silencing was originally going to film in Europe before moving to Canada. What was that process like of communicating with someone who isn't necessarily used to working on this side of the world?
Annabelle Wallis: Well, it's great because their vision is different, because they're in a in a different demographic. But he was so smart; he went out to Canada and spent weeks in pre-production out there just so he could sense the land and sense the space. He worked on a tight budget, and I feel like he really put the work in to try and get the most out of it. He chose this kind of bleak landscape that was such a character in the film.
I love working with him. And I love when language is a barrier, because you have to communicate in a different way. I find that really interesting. It was a lot of fun, and it was a great tool, I think.
I love what you said about the complexity of Alice. Because there is so much backstory, such as her relationship with her brother Brooks, that's very layered but the film only scratches the surface of it. How much conversation took place behind the scenes about the background for your character?
Annabelle Wallis: There wasn’t an extensive amount of chat. When you're on a film like this - we had 25 days - it's very tight. I had just left the set of The Loudest Voice, and I was used to time and Russell Crowe massaging the scenes into whatever they needed to be. Then all of a sudden, you are up against the clock; you are fighting for light; you have no more days.
Unfortunately, I do feel that there is something lost. It's hard to fight for the romance of the character, for the romantic idea of the backstory to the extent that you want to get the film made and you want to get it done. It was a difficult battle, but I actually enjoyed not having to make excuses for her as to why she was like she was. I don't know if that is just because I feel like so many women are written like, "Oh, that's why she's like that," or "She had to go to such great trauma." And think you can just be.
Of course, it comes from something. But it implies that you're not a participant in the decision-making, and I didn't like how that diminished the character's choices.
How did you align yourself with the character, given her enigmatic moral compass? What's most relatable to you about her and what's the toughest part of becoming her?
Annabelle Wallis: Well, I have a brother, and my family and my friends. What would I do if there was a moment where something went wrong to the extent that his life was in jeopardy? I don't know what I would do, but I'm not going to deny the ferocious woman in me. I don't know what would happen, and I like the danger of that. I like the idea that I looked at her and I was like, "If anyone touched someone I love like, I would lose my mind." The truth in that, the ferocity of this woman and the lioness that comes out in protecting her family, I guess that's where I could really see truth.
And I love that she is flawed. I didn't want to pander to this idea that just because she's a woman, and just because she's a protagonist, that she has to pander to the audience in a way. The audience is so intelligent nowadays; they've dealt with tragedy. They are thirsty for something different, I feel - and if you come from a place of truth, they connect with that.
The motivation was just, like, play the truth. Play the truth, and this is how I believe someone would act. I can see it happening. Yeah, she may have a couple screws loose, but who doesn't? That town is a downer, she's just made life exciting.
What was it like working with Nikolaj? You have a really interesting dynamic, with the same goal but still feeling animosity, despite not having many scenes together.
Annabelle Wallis: Well, he's a lovely man. He's such a professional. It was just when the end of Game of Thrones was happening, so he couldn't really go anywhere.
What I love too is that they don't really interact until the end. I was like, "How cool. I've never seen that." It was interesting because I'd have to ask him how he was playing it, because I didn't see a lot of it and I wanted to make sure that my tone was matching his. That's the thing.
There's a morally flawed righteousness to them. They are so trying to do the right thing, and they as they go about it just the wrong way. And don't we all? We don't go to those extremes; I don't recommend that. Don't try this at home. But I think it's real, and I think an audience wants real characters on screen.
What other projects are coming up for you, either completed or set to begin post-quarantine?
Annabelle Wallis: I had Malignant with James Wan, which I'm the lead in. It's an original idea, and that was going to be out at Warner Brothers on August 14. We're now waiting for our new release dates, and that is something I think I'm very excited about. Again, a character I've never played before. It's mind-bending and so original and very brave of James Wan.
And then I just wrapped some COVID reshoots, which is very interesting, on a film I did called Silent Night. It was me and Keira Knightley and Roman Griffin Davis from Jojo Rabbit. It's like Richard Curtis had a baby with Lars Von Trier. I'm very excited about that one; that one come out in December. I'm very excited about both, so it's a good year of releases.
Many moons ago, you tweeted that Grace had unfinished business left on Peaky Blinders. Anything more you can share about another possible return to that show?
Annabelle Wallis: I would just say watch this space. Anything can happen, you know? I would call it the gift that keeps on giving.
I love it. They're like my family; they're like my very naughty cousins.
The Silencing will be in select theaters and available through Video On Demand and digital starting August 14.