When speaking to filmmaker Alex Garland about his heady idea to grapple with masculinity and its foundational myths and virulent cycles within a folk horror construct, Buckley caught him off guard: She started talking about the metallic taste of blood and how the character might feel about it. It was strange and unusual and perfect, he thought.
He knew Buckley was a great actor, but it was a meeting of sensibilities that made her right. She’d do a primal scream in a church that would end up becoming a note in the actual score, throw out ideas of her own and try wild things that she knew would probably end up on the cutting room floor.Garland had been thinking about the concept for many years. He wrote the first draft sometime after writing “Sunshine” and would go back to it time and time again.
“Rory is probably the funniest person I’ve ever worked with, which was a complete tonic,” Buckley said. “If it was someone who was incredibly serious and heavy with it, it would have been completely different.” Garland does just that, she said. It’s this synthesis that audiences have come to love about the films and shows that bear Garland’s name. The ideas and images in his stories, even the ones he just wrote, are guaranteed to rattle around in your head for days. And there’s often a significant song that he does admit he has a hand in picking.
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