For years, a mother and son lived in an 11x11 shed. Only a skyline hinted at an outside world as their captor brought them the basic necessities of life. Irish director Lenny Abrahamson explores claustrophobia, insecurities and emptiness in his sixth narrative feature, "Room," which took off across the fall film festival circuit, already winning audience awards at the Toronto International Film Festival, Hampton International Film Festival and more.
The movie is an adaptation of Emma Donoghue’s 2010 novel of the same name. It follows the story of Ma (Brie Larson) and her son, Jack (Jacob Tremblay), who are kidnapped and contained in a shed for many years. When they finally escape, the two realize that life outside the room could be even more dangerous than inside.
Abrahamson opened up about the film’s rewards, challenges and his future plans.
What drew you to "Room" originally?
Abrahamson: When I read the book, my little boy was 4 years old, just a year younger than the character in the novel. I think that is probably what initially drew me to this: a story about a little boy. But then, I realized what Emma (Donoghue, author) was doing. She was telling what would normally be a very bleak story, but from the point of a view of a child so it became about all sorts other things: how kids can make a childhood out of such meager materials and it talks about growing up and parenting and love. I just thought it was such an original and fascinating way of talking about these things and I also had the sense that I knew I had to turn it into a film. That was the starting point for me.
About those “things,” it seems depression is a theme across your filmography, even among you lighter works. Is that intentional? Is that something you reflect on a lot?
Abrahamson: I’ve always been drawn to and interested in characters who are in the rut of their life. I just think there is a lot to learn about the society we are in by the people who are not functioning well inside of it. I don’t know, I also feel kind of moved by that. So, I think that it isn’t intentional that I study in that area, but it does keep appearing in my work. It must have some hold on me.
Kind of going off of that, how would you describe your evolution as a filmmaker? This is arguably your biggest project yet. What has been the process to get here and how has it affected you?
Abrahamson: So my first three films were all small Irish films. They were what I was interested in, but it was also what was available to me in terms of resources. They were well-liked films and the third one, “What Richard Did," got some attention in the States. Then I (found I was) branching out, working with bigger names and there were actors who liked my work. Being able to attract actors is a huge part of what gives you some power in this industry. Then, with “Frank,” I was able to go a little bigger and “Room” was something I really wanted to do. I very luckily had that trajectory of increased visibility; it became really possible for us to finance “Room.” When you look back on that you think “Oh yeah, that looks like a determined plan to increase the scale,” but it isn't really.
So passion still drives you?
Abrahamson: Yes. Absolutely.
“Room” was all filmed chronologically and I think you can really feel that in the film. Can you describe this process? I know that Brie Larson has mentioned that it was very trying.
Abrahamson: We chose to shoot chronologically because if you are dealing with a kid, it is already tough enough to get a terrific performance. It really helps if you try to explain the story as the story is unfolding for the child, as you film. So that was a decision that I thought was really helpful for everyone. Also, a lot of filmmakers (who do this) generally discover things about the story which then reflect in the later parts. But then again, it was tough for Brie because she had to delve into dark places. I think she found it really helpful to have the little boy there because Jake is so much fun and he never obsesses with anything except having a great time pretending to be someone else. He was always so upbeat and that really helped all of us stay really positive during the making of the film.
Speaking of Jacob, how did you home in his performance? We kind of touched on this, but what are the differences with working with adult and child actors?
Abrahamson: A child actor takes an awful lot more attention — and help and coaching and guiding and tricking and surprising — and all of those to get those moments from him. The principle is still the same, really. You try to find the language that really opens up what happens for them dramatically. You don’t just talk about what is happening in the scene, and of course with Jake we really aren’t going to talk about the darker parts. We can talk about all the fairy tales, and his first day of school and what it is like to see a shark. We can tell him stories that help get him to where he needs to go, but always in a way that is appropriate for someone his age. Quite often I would talk him through a take and cut my voice out later. There are just so many ways of getting where you need to go, it just take a lot of patience and a lot of ingenuity, and it takes the presence of a really, really talented boy.
An unforgettable emotional journey... Get ready to discover #RoomMovie – opens in select theaters Friday! pic.twitter.com/RDc22nHkl4
— Room (@RoomTheMovie) October 13, 2015
Did you learn a lot from Jacob?
Abrahamson: Yeah, I did. I’ve always believed that some of the finest actings comes from a really light place. You don’t need to put yourself down the well. Sometimes it is about a delicate kind of playfulness that he always had. That was still there even when he was upset. After a scene, he would be jumpy and he was just pleased he had done a good job. He wasn’t taking it too seriously and I think that is something we could all learn from.
With “Room” and “Frank," you have begun being able to work with a lot of really established celebrities. Is there anyone else that you would like to work with off the top of your mind?
Abrahamson: I would like to work with an Irish actress, Saoirse Ronan. She is amazing and I’ve never worked with her even though we come from the same place. There are some grade-A actors — just really fantastic actors that I would like to work with. I think Joaquin Phoenix is amazing.
But, that is one of the great pleasures — discovering a working relationship with a new actor. I am very actor-focused and I’m fascinated doing work with people who respond to this and meeting, talking and working with all of these great people.
Do you have any favorite stories from on set?
Abrahamson: I think my favorite story from on set is probably the day that we filmed the scene where the paramedics were taking Ma to the hospital. Jack is upstairs and he cries, and that was the first time Jake was able to cry for real during the take. When we called cut it was amazing, he was jumping up and down, fist-pumping, whooping and saying “I did it! I did it!” It was just so sweet. He just discovered this muscle that he didn’t know he had.
What is next for you?
Abrahamson: I’m working on a bunch of new things that are very interesting. (One is a Gothic) love story in rural England set in the 1940s. I’m working on a Civil War story set in the States which is based on a novel called “Neverhome” by an American author called Laird Hunt. It is a very good novel about a woman who disguises herself as a man and fights for the army and it is a real great war story. I’m thinking about a whole bunch of things.
“Room” opens in limited markets on Oct. 16. On Oct. 23, it will expand to Phoenix at Harkins Camelview ahead of its national release on Nov. 6. Abrahamson’s last project, “Frank” is available to stream on Netflix.
Editor's Note: This article has been updated with more current information regarding the film's national and Phoenix release.
Related Links:
'Room' proves tough story to watch, but wins big at Toronto International Film Festival
The best (and worst) films screened at the Toronto International Film Festival
Reach the reporter at tanner.stechnij@asu.edu or follow @tannerstechnij on Twitter.
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