Note: This interview first ran in November 2014 to mark Actress‘ theatrical premiere. We are sharing it again as Actress is now available to watch at home on numerous platforms including DVD from Cinema Guild (with an exclusive essay from film critic Eric Hynes), Netflix Instant and iTunes.
Brandy Burre scored a career breakthrough when she landed the part of political fixer Theresa D’Agostino on the monumental HBO series The Wire. Prior to filming her character’s second season, she became pregnant with her first child. Eventually she decided to retire from acting to raise two children with her partner, the restaurateur Tim Reinke. Years later, feeling the need for a creative outlet, Brandy decided to return to acting. Documentarian Robert Greene, her next-door neighbor in Beacon, NY, began following this unpredictable process with his camera. Their unique collaboration eventually yielded Actress (T/F 2014), an innovative and unsettling blend of vérité intimacy and soaring melodrama.
Actress is now playing theaters nationwide via Cinema Guild. Last week I got the chance to talk with Brandy via Skype about playing herself on and off camera.
T/F: Could we start by going back to where the film started? How did you guys begin this project?
BB: Robert approached me about the project months before we actually started filming – maybe even a year. He was very delicate in the way he would bring it up, almost giving me a little bait, to see if I was interested. I think originally Robert had the idea of watching three actresses in different stages of their lives. He has a friend who is younger and in independent films right now. He was thinking, I could follow her experience, you, who has children and is now getting back into it, and an older actress at the end of her career. That was the original thought. Once we started filming, he realized he could have an entire movie with me as a single character.
I never had any idea of what the film would be. Robert did. He as a filmmaker had to have ideas of narrative that he thought would make the movie. I was in a way just being his muse. It was my goal just to be as truthful as possible on screen. That was for me the exercise as an artist. I thought I should just take advantage of having someone who wants to put a camera in front of me, and get used to it, and see how it makes me feel and how hard it is. That alone was so daring and risky that it was enough. I didn’t have time to put on anything else.
T/F: Robert has written about nonfiction performance. In his “art of nonfiction” video essay for Sight and Sound he called it “the layering of the real and the imagined selves.” I think you can see Actress in part as an attempt to make this dynamic explicit. Did he introduce any of this up front?
BB: No, I don’t think so. I really didn’t know any of Robert’s writings. Whenever he’d come over it was about the collaboration of the moment, him coming over and filming. He would talk about ideas, but it didn’t really affect what I was doing. In fact, I didn’t really want to know, because it didn’t help me with my objective of being truthful.
But I agree with those things outside of the filming. As an actor I’m so aware of the roles that we play in life. I’m amazed at how well people play roles in their daily lives. As an actor I think I’m hyper-aware of the body/mind connect, and I think, ‘Wow, they really wear that suit and play that role of business man — or mom — really well.’ I’ve always been fascinated by stripping that down because it’s never been easy for me, to play the role of ‘myself.’ I guess that’s the hardest thing to do.
T/F: The film uses highly composed and stylized segments interludes. What was the process like for making those?
BB: Yeah, the red dress that you see in the trailer and the stills was shot in one day when Sean Price Williams, a friend of Robert’s came to shoot as a birthday present to Robert. I had never met him before, and it was the first time we had another person involved. Partly, it was because we were doing a shower scene. At some point I said you need to film me in the shower. It may sound peculiar that I was suggesting it. But at the same time, that’s what being a mother is. The only precious time I have is that time. Also, the roles I’ve played in theater and television are mostly sexy roles, and my body is part of why I get hired. And for me just to be myself, I wanted to take that back and say, “film me being me.” And because we were doing that I think Robert wanted an extra person there, to make it professional.
The slow-motion camera helped make it feel stylized. We didn’t talk at all, “let’s make this stagey.” Robert didn’t come up with the red dress. I only have a handful of dresses in my closet, so that’s just what happened when he asked me to put on something nice. I think I said “this one’s kind of caricature-y.”
And my house is just like that. I never staged the house. Everything is how it is right now. Robert would direct the shot by suggesting, “take that glass” or “let’s work at the sink.” But, no big concepts. Just capturing footage.
I had brought up that quote from The Wire about me breaking things, so he said let’s take that and see if it leads anywhere. We didn’t know.
Another important scene, when I go around the kitchen, was done in one shot. The only direction was “just to walk around the kitchen and see where it takes you.” It was never set up. So I went in, something was cooking on the stove. Then I went into the backroom, and Wall-E was playing on the TV because my kids were watching it. Then my daughter comes down the stairs and hands me the hanger. No, none of this was staged. I think having slow-motion camera and time to play allowed us to capture the images that grounded the film. After that day, I think a lot of what Robert had in mind for the film changed.
T/F: How far along in the process was that day?
BB: We were filming so sporadically at the beginning, honestly I never thought this would be a film. I’d say five months in maybe?
Robert had his day jobs and was trying to pay the bills. I was a stay-at-home mom also trying to figure out things, so we just did it when we could, and we didn’t know what we were looking for, so it really took a long time. Correction. Robert knew what he was looking for, but I wasn’t auditioning, so it just took a while to get going.
T/F: There’s one moment pretty late in the film that really fascinates me. It’s during one of the two intense, intimate speeches you are delivering to the camera. You are interrupted by a noise from off screen. Do you remember what I’m talking about?
BB: I do, I do, the pellet stove?
T/F: Yeah, could you tell me about that moment?
BB: Ok, so this is what’s fascinating to me about Robert’s film. I say that this is Robert’s film, and people say, “Oh no, you have to take credit for it.” And of course I take credit for it because it’s my life through Robert’s lens. But, in that moment , specifically, he’s exploiting documentary filmmaking.
The moment that you’re speaking of, I was in the middle of a very intimate confession when my heating stove breaks the scene. I say “ugh, damn pellet stove,” and I was very emotional because I was trying to be composed. I was holding because Robert used to “yell at me” if I would break “character” or be like “oh, I’m sorry, should we do that again?” because I was so aware of being filmed. He’d say “just keep going.” So in that moment, the trained actor in me was pausing because I didn’t want to lose the momentum and ruin that scene for Robert. So I was just waiting for the pellet stove to go, and then I was going to try to keep telling my story, thinking that that very moment would absolutely be cut out of the film. So I was simply holding as a good documentary subject. But he kept it in the movie!
What he loves about that moment is that I actually become the first layer of myself, because as I’m holding, I drop the composed mask and get really emotional. The shooting of this scene was the first time I had said, “Robert, you need to come over here, I have something to tell you.” He came over, and I said, “Can you turn on the camera?” And I started talking. He was crying during the scene, I saw his eyes. Again, never knowing if we were going to use any of the footage because it was very hard for him to shoot as I’m telling him very personally about what just happened in my relationship.
But keeping it in is that layering of layer of layer. Documentary films usually don’t do that.
T/F: That story, do you think it would be a lot different if the camera wasn’t there? If you were just telling it to Robert as a friend? To me, that moment when you get knocked out of the story, it hadn’t felt particularly performed leading up to that, but when it happened I was like, “Whoa, wait, was she performing?”
BB: Yeah, but I think if someone asked you “tell me your story?” and put a microphone in front of you, it would be completely different than if a buddy was sitting with a beer and said, “tell me your story.” I think that’s human nature. I think I was choosing my words better because I needed to be clearer, where if I was telling my friend I could interrupt myself and backtrack more. And then that thing messed it up, and I felt like a failure. So in that sense was it performed? I guess.
It’s like when you’re introduced to someone new, how you put on that, “Oh, hi!” I mean, I was so vulnerable, but in my mind, I just wanted to tell the truth by trying to carefully reconstruct what I was confessing. But then when the noise from the stove came I had a moment to actually breathe and suddenly the pain of the situation came rushing in.
T/F: You mentioned earlier that people are telling you to own the film. Do you see it as part of your body of work as an actress?
BB: I’m so proud of it and feel it just blows the doors off everything I have done thus far. I do feel like it is part of my work as an actress, but more as an artist. I think I became an actor because I’m good at it, but I also love music and creative thinking.
Now, when I’m reading scripts, I think, “this is so much work.” (laughs) I have to audition, and how long will the shoot be? All that money and talk about budgets and locations and rights to things. I think, “Let’s just turn on the camera and live.” (laughs) And apparently that’s really daring.
Apparently it’s really daring to be truthful. People say, “You’re so brave!” And I say, “Oh really?” It’s a testament to our ideas about society and civility; I think it’s repressive. I don’t think it’s that brave, I just used it as an exercise of being truthful and sitting in it. Sitting in my own being.
So many people are in relationships. And relationships are hard, and 65% of marriages end in divorce. But where is all that talk? No one talks about it. I couldn’t believe no one talks about being a mother and trying to have a job. How does that work? Our society doesn’t make it convenient.
So yeah, if I do The Wire and now Actress, and this is my body of work, I can only imagine what’s next.
T/F: Could you talk about your decision to travel with the film and attend True/False and other festivals?
BB: I felt it was the only way to not feel that I was completely exploited. I never asked many questions about the logistics of things. I never signed a release form until the film was done. And that was because when Robert first approached me, he was very concerned it could have ended any friendship we could have had because of the intimacy.
T/F: So he suggested that you wait until the end to sign a release?
BB: Yeah, It was like “I’ll just keep filming, and you can always pull the plug.” I don’t know if it was sly … (laughs) It’s Robert’s way, maybe a little guile. “You always have the say to pull the plug,” which emboldened me to be braver and put it all out there. Even if I signed something at the beginning, he was never going to put it out there if I said “I hate you and I hate your film. How dare you exploit me?”
So, traveling with the film . . . I think that came out of seeing it. When I saw the film in Robert’s editing room, twenty feet from my window, I was able to disassociate myself from all of the shooting and the emotions and see how beautiful it was. And I knew my heart was in it.
So, I want to meet everybody. This is my calling card. Why would I sit back? I’ve met so many people. And the festivals have all said yes, where they don’t always bring the subject, it’s not a given. So I am grateful for the experience.
I’m not afraid of the judgement. I kind of like it. I certainly like being provocative if it’s to get people talking.