During the New York premiere of “The Little Stranger” last night at the Metrograph, director Lenny Abrahamson shared his journey to adapting the airy horror novel, written by Sarah Waters, to the big screen.
Lead actors Ruth Wilson (Caroline Ayres) and Domhnall Gleeson (Dr. Faraday) also shared the red carpet with Lenny and spoke about the characters they played and the world of the movie which is set in the summer of 1948.
The Knockturnal: Were there any challenges adapting the novel into a film?
Lenny Abrahamson: Controlling the flow of information and keeping track on who we’re with and who we’re following. In film, it’s either you’re there or you aren’t. Faraday is a complicated character and sometimes in the novel he’s not reliable. There are different ways in film of creating that sense of distance and closeness so solving those problems were the biggest.
The Knockturnal: What are you drawn to as a director?
Lenny Abrahamson: It’s easier for people on the outside to look at the stuff that we do and go, “Oh look, there are the patterns.” But I suppose if I stand outside it, I’m drawn to characters who don’t have an obvious home. Characters who are outside or don’t feel comfortable in the society that they’re in. People who are somewhat lost and I come back again and again to characters like that. I’m also drawn to the challenge of working on projects that don’t fit an easy description; like mixing tones. I’ve never been particular to making straight, down the line, genre films. I just don’t think I’d be very good at it. I think I’m better at the odd spaces in between.
The Knockturnal: With that being said, how do you think this “horror” movie differs from other horror films?
Lenny Abrahamson: I think there’s a lot richer character stuff in this film than there might be in a conventional horror movie. It’s really a drama and a ghost story melted together. As Domhnall said a while ago, it’s like if you imagine Downtown Abbey where the place starts crumbling and everyone goes a bit mad. This film is somewhat in that territory. I think in a more conventional story you’d get the answer nice and neatly. I just think it’s more exciting to let an audience feel their way towards an understanding rather than spoon feeding them.
The Knockturnal: That speaks to your directing style, how else would you describe your style?
Lenny Abrahamson: I think I tend towards a naturalistic style. I like to believe what it is that I’m watching. I don’t like to direct the audience’s attention too rapidly. I like to hint and create an impulse to look at something rather than to tell people, “You should be looking over there.”
The Knockturnal: Did the novel do this for you? Or did you read it and decide you wanted to make it your own?
Lenny Abrahamson: As a book, it did it for me very successfully. But when I worked, I worked with a writer a writer called Lucinda Coxon and I think what we tried to do is capture the essence of the book. You could never take the book and put it on screen. But I’m hoping that what we did was create something that works as a film and has the heart of the novel in it.
The Knockturnal: Did you stray away from the novel a bit?
Lenny Abrahamson: I think we are pretty accurate actually. As far as adaptations go, and I know Sarah Waters, who wrote the novel, feels it’s a really good adaptation. I’m pleased to hear that because it matters to me what she feels about it.
The Knockturnal: What was your approach to the film?
Lenny Abrahamson: My approach to the film is the same as everything I do. I try to be really sensitive to what’s going on and work with the actors in a way which lets them bring their creativity and ideas as well. I try to be collaborative but at the same time to make sure that everyone’s making the same film.
The Knockturnal: What message should the audience take away from this film?
Lenny Abrahamson: I wouldn’t be so arrogant to think that I should be telling people things, but I think if there’s any message it’s if you don’t deal with the dark things in yourself, they’ll find a way of coming out and affecting your life whether you recognize that or not.
A few moments later, Domhnall describes his character as a man different from traditional characters he plays, whom he describes as having an “undeniably pure center.” Despite this change, the actor admits, “I loved him (Faraday) and it worried me how I responded to him even though he scared me.” He also shares that the novel was a huge help in understanding Faraday who “Represents a need to be better.” Domnhall explains, “He represents a desire that is destined to remain unfulfilled.” However, the leading man shares one similarity with Dr. Faraday, they both don’t believe in ghosts.
While both the novel and film audiences witness events from Dr. Faraday’s narrative, much of the focus is on Caroline; played by Ruth Wilson. The lack of narrative created a bit of an obstacle for Ruth who says, “The book didn’t provide any answers.” She continues, “You’ve got some clues as to who this character is, but there are some things that certainly weren’t on the page.” Ruth shares a conversation she had with the writer of the novel, where she asks for more information on Caroline and questions her sexuality. “I wondered if my character was a lesbian,” she states, “it was interesting to me that she wasn’t entirely into this guy.” Turns out, according to Sarah Waters, it wasn’t her intention to make Caroline a lesbian.
After seeing the movie, it’s safe to say that Lenny successfully carried out his vision. Post-movie it became simpler to identify the themes and structure that we addressed during the interviews. This unconventional horror film will be in theatres August 31. Be sure to check it out!
