rosemarie dewitt black mirror
Rather than our children using the technology, it’s the parents finding a device that might be able to keep their children safer, and of course they bite on it. A conversation with DeWitt—who appears in the Jodie Foster directed episode that feels more like an independent short film about a blue collar neighborhood in Anytown, USA than the show's usual sci-fi fantasy-turned-nightmare aesthetic—revealed that while technology is embedded in the fabric of our everyday lives and can be a helpful parenting tool, sometimes it's best to just rely on our natural human instincts. He so easily finds a way into your fear, you know what I mean?
One that screws with agency. It was really hard to shoot.
It was heaven. We all have unexamined, unconscious parts of ourselves, and wounds.
We don’t even know what it’s going to be like for all of these kids who’ve never known anything but technology, or never known anything but a world without privacy. Was that difficult to shoot? What was it like working with Jodie as the director? It examines all that and weirdly, a lot of stuff that they wrote about a couple years ago has come true.
I’m kind of stealing this from Jodie, but I think it really makes sense—technology is benign, it’s like a blender. Short, sweet and seething with the backstabbed martyrdom of a scorned helicopter mom, “Arkangel” is the perfect sci-fi encapsulation of the “mama bear” trope. To say she is “actor friendly” is an understatement because she’s a brilliant actor herself. I think I shot the aftermath scene of the violence, and I’m looking at the gadget trying to get it to work again, and I was just like, “No! This particular mother (played by Rosemarie DeWitt) is no different from most.
As you may also expect, this tech isn’t as wonderful as the grinning technician would have you believe. I think we’re only going to know in retrospect. Treating this with the long-short-long editing of horror (tension, release, rebuild) and the cinematography to go along is a smart move by Foster.
It wasn’t hard to shoot the emotional stuff, that stuff I find thrilling and exciting, but what was hard about it was, we have this young amazingly talented actress Brenna Harding, and just working with people that age, when the emotions and adrenaline gets going, it can be scary because you don’t know how in control they’re going to be.
And also, we were in Toronto during the election.
I think my character’s intentions are really pure.
Utilizing foreboding framing, Foster piles layers of material across the frame, with cluttered, claustrophobic blocking that builds to utter blankness and terrified clarity.
“I’m not on any social media, I don’t even know what things are. Watching this show can make a viewer feel so paranoid with its “be careful what you wish for” message present in nearly every episode. We explored some really personal things in there, but differently. How technology was advancing, but also the human race and its decline a little bit. That’s what was up for everybody—it was like, “Holy cow, we’re so afraid.” And I was like, “Okay, so this’ll be easy to shoot this.” [Laughs.]. She responded to the script and she had a lot of thoughts and suggestions on the characters so there were a lot of adjustments. It’s all too much, until there’s nothing at all—and then you realize how much you miss it.
Did it inform the way you acted on set for that day?
Catch the full episode of Entertainment Weekly: The Show here and on PeopleTV. “We had a Skype conversation during which I managed to keep my cool and not freak out.
When the techno-umbilical cord is finally cut thanks to some (foreseeable) developmental problems, the bad boy (Owen Teague) reigns, and a crash course in the utterly unparental begins. It’s an interesting question, right? In a way, it’s so easy when you have kids because you relate to everything in the episode, and pretty much everything in the world, because you have these people that you love so much that you want the world to be perfect for and to keep them safe and happy, and unfortunately that’s a tall order. The resulting maternal freakout is epic, expertly realized and emotionally grounded. The line between protector and assailant has never felt so thin, even when things aren’t physical. I’m sure you’ve had experiences, too, with friends throughout adolescence and college, who are so sheltered that it almost makes them harder or wilder.
This tech offers unprecedented closeness—and with it, the opportunity to breach the most personal privacies.
I’m sure it’s a whole combination platter, but you really don’t know what you’re doing and you have to make it up as you go along and trust your instincts. He lives in Chicago, plays Dungeons and Dragons, and struggles not to kill his two cats daily. this link is to an external site that may or may not meet accessibility guidelines.
In our episode he puts those together in a really unique way. She’s really awesome to work with. “Arkangel,” directed by Jodie Foster, sees how far a mother (DeWitt) would go to keep her child safe. Undesirable sights and sounds can be filtered out for a calmer kid. No! It’s effectively a pet’s microchip tracking device with a few fucked-up extras: You can see through the child’s eyes and filter what they see or hear so that potential stressors look like the blurred genitalia of a stadium streaker.
Hear more about season 4 of Black Mirror from DeWitt in the video above. Related: Netflix's Groundbreaking Mystery Series 'Wormwood' Will Suck You in Over the Holidays, Actresses Priyanka Chopra and Jodie Foster Reinterpret "Toxic" by Britney Spears. In fact, the most far-fetched part of the episode is a Tusk poster in Sara’s room. How much of your child's adolescence should you be privy to as a parent? It already sort of does exist because we have GPS on our phones. © Copyright 2020 Meredith Corporation. That’s why I think people are so hooked on Black Mirror. Was there anything else in regards to conceptualizing those characters that you found particularly challenging? I’ll see them when the rest of the world sees them.
In parenthood, there’s so much fear around parenting in this day and age, and there’s so much fear around technology. You often hear parents saying, “I don’t want to know,” and I don’t know if it’s that they don’t want to or that they just shouldn’t. That’s super scary. Entertainment Weekly is a registered trademark of Meredith Corporation All Rights Reserved. She’s really smart and she and I, we talked a lot about being mothers and being daughters, and we felt that the mother-daughter relationship is so different than the father-son relationship or mother-son relationship. I know more about Moana and Coco these days than I do about anything hip and cool like Black Mirror. The result is that Sara is inoculated against danger or unpleasantness, be it a barking dog or her grandfather’s death.
“They’re kind of like a blender or something. You think she would?
When you overprotect your kids, how do you know they won't act out even harder if given the chance to do so? The episode dredges up fear surely every parent must come across—what would happen if you lost your child, or at least thought you lost your child? DeWitt springs for some new tech in response to her wandering child, as you might expect after selecting Black Mirror from your streaming device. I think Charlie [Brooker] explores it in such an interesting way. I think there’s a slippery slope with how much is too much information regarding your children.
2020 Bustle Digital Group. You guys will be much more skilled at it than I am!” So it was one where I felt probably the most in my life like, “Let’s be safe.” It’s so athletic and you have to repeat it many times, and you do wake up the next morning feeling like a car ran over you from the moves.
Motherhood and daughterhood are so complex that it’s almost impossible to represent that relationship on screen with a limited amount of time, but this year, I’ve noticed a lot of TV and film that’s done an exceptional job at portraying layered moms, like in The Florida Project or Better Things.