Imogen Poots discusses Vivarium’s unique shooting arrangement, her affinity for independent film, her “desert island band” and much more
together the year prior, and I loved working with Jesse.came my way not long after that, and I thought Jesse would be awesome to play Tom. Luckily, he was available and up for it, which I’ll say is super cool. On the page, it was certainly a female-centric film in the sense that Gemma had been written as “the lead” or what have you. It’s quite rare for a male actor to say, “Yeah, I’ll play the other part...” So, it was really, really cool and supportive that he was up for it.
The exterior was shot in Liège, Belgium, which was on a soundstage. That was really trippy because it was really hot outside. We were filming inside, and we had these three houses which they then CGI'd to multiply. There were cables everywhere, and we had a Danish special effects crew who were running around with silver globes and batteries; it was very peculiar. And then, we shot the interiors in Ireland. It was very strange.
That’s an interesting question. I agree with you; I do think the studio system has luxuries in terms of the budget — and the snacks are great. But, if you don’t have someone to helm the project with a clear vision or someone who is able to execute their vision as boldly as they would want, then that film can also fall short. So, I don’t know if it’s really a measure of whatever you and I perceive to be “a good movie.” The studio films, despite all of their amenities, can still fall flat.
Thank you. I feel part of a tribe, and it’s a tribe I’m really proud of. You work on one movie, and maybe that filmmaker’s friend is doing something else. There’s a community that’s really, really supportive and really invigorating to be a part of. But, things have changed for me, personally, over the years. When I was younger, I was more snobby about movies, and I thought that real art had to be hard and difficult; you wouldn’t have fun doing it.
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