Perdita Weeks | Geekscape

Geekscape Interviews: ‘As Above, So Below’ star Perdita Weeks

by Eric FranciscoAugust 31, 2014

Of all the cinematic genres, it has long fascinated me that horror is among the few to predominately feature women in prominent roles. Whether a screaming, almost-naked teen babysitter is shorthand for sympathy and terror and is thus quietly misogynistic, or because horror filmmakers tend to be more socially progressive and want strong women conquering forces is solidly uncertain. This is for you to decide.

Still, it always brings a smile to my face whenever I see a strong central woman in any movie, and As Above, So Below deserves recognition.

Just before I entered the heavenly gates that were the doors to Power MorphiCon in Pasadena this past weekend, I had the chance to talk about the dungeon to hell with Perdita Weeks, the star of As Above, So Below! How much fun did the smart, talented, and indeed lovely Ms. Weeks have playing a badass? And what was it like down there?

Scarlet is a strong and daring individual. She’s Indiana Jones meets Ellen Ripley to me. So, very plainly, how much fun did you have playing a badass?

Perdita: It was so good. It was so fun. I knew it was going to be fun when I read the script. Yeah, it was like, I’ve kind of always wanted to play Lara Croft, unfortunately Angelina got there first. [laughs] I just thought, [it was] really fun, [she was] really strong, leading a group of individuals down to the catacombs. It was brilliant. Hard, but very, very fun.

Yeah, I picked up on the Lara Croft thing a little bit too. The movie was kind of like a video game to me. But you filmed it in the actual catacombs! With the physical challenges in those tiny, dark hallways, being terrified must not have been farfetched, was it? What was it like shooting down there?

Perdita: The first time we went, the first time we went before shooting was just like a walk around. The Dowdles showed off which spaces we’d be using specifically. And it was a little daunting, more just because I’ve never shot anywhere that was going to be so logistically difficult. It was very tough on the crew, having to get all their cables down there, incredibly heavy equipment, and lighting luckily wasn’t really an issue, because the only lights were from our head helmets and the one from the camera. But because of the style of shooting, the found footage aspect, and the fact that all six of us would essentially be having cameras, it meant the crew had to completely hide away, all the time, because you never knew what would be caught in the frame. But it was more incredibly exciting and novel, to be one of the few people who ever shot down there. There was maybe a good forty to sixty of us. It was quite a bonding, unifying experience actually. I mean, you spend that long, you know, with that many people, it was a tight-knit crew by the end of it. You know, we felt like we had really gone through something.

By the time we got to shoot in the sound studio in the last week we were like, this is heaven! There were toilet facilities, and coffee! [laughs] It was hardening, but it was really good for the film. We all felt quite so proud of ourselves after it. Some people had a couple of … head injuries, minor.

Oh, wow.

Perdita: Yeah, ceiling, the height, it changes all the time so it was incredibly unstable. Lots of times, lots of members of the crew had just gone smack! Into kind of like a sticking out rock. It’s a mad, mad place to be in for the entire film. It was bizarre. Probably more bizarre than it even looks in the film. It was scary in the film, in reality it was kind of hysterical. Like, what are we even doing here? Is it even going to work? But, it was great. It adds to the kind of excitement.

Your terror came out genuine, it was amazing to watch. You put on an excellent performance down there.

Perdita: Thank you!

In addition to the actual setting and challenges that came with it, you’re also filming a found footage movie. Very verite-like. Was there any learning curves in acting in those spaces with that kind of genre? As opposed to, for example, shooting The Tudors?

Perdita: Oh, yes! But it was great! You have a lot more energy, because you’re never off. You never know when the camera is gonna capture you. It brings you that much more closer. For each sort of scene, if you can call it that, because in the film the action is so continuous, and lots of time we’d have ten or fifteen minutes of continuous action. I mean, it was incredibly, absolutely exhausting, but brilliant. We would get to do one scene, all day. And at the end of it we’d change, every single take it would be different. But you know, they were using continuous takes, and every time the DOP would do something different. So you never knew really what was going to happen. It was kind of just about reacting to all that.

There was six of us there, all of our performances are changing all the time, so it was a great acting experience, actually. Especially when you’re doing, you know, people give horror a bad rep, but my God, it’s hard work. For any actor. It’s very testing. I’d recommend it to any actor. It’s very hard work but very, very satisfying.

Scarlet is burdened by family guilt and seeks redemption. She’s rebellious and she never hesitates. She immediately dives into a situation. Do you think she’s trying to prove something to the world, or do you think she’s trying to prove something to herself?

Perdita: I think the thing with her is that the thing she really isn’t interested in is fame, or money, or even success to some degree. My whole idea for her was that, she works as a professor in order to just make enough money, and she’ll stop the very second she’s got just the right amount to go and complete this mission. And the thing with her, the reason she is so, as you say, has no hesitation to do anything … is she’s got nothing to lose. That’s what I love about her. Characters like this just don’t come out often. Characters with absolutely nothing to lose as the one complete driving force.

It was a complete dream to play because it makes every decision that you have to make incredibly easier. You know exactly what their purpose is. And what their motivation is. You know, with her, I honestly didn’t think she’d mind if she died doing this. Because, there is no one around. She’s cast off maybe the one person who maybe did care about her, and she doesn’t have any family left. It was the only thing that mattered to her, until the point where she realizes she’s put other people in danger. And that’s her saving grace. You know, she really doesn’t want to endanger anyone else. You see it in the beginning of the movie when she goes to Iran. It’s the only thing that matters. If she dies, she dies. There’s no one who would miss her.

She was fearless and absolutely one of my favorite characters in recent history. You played her well.

Perdita: Oh, great! [laughs]

One last question. Because this is Geekscape, we are nerds here. This is a bit of a fun question. The catacombs are of course terrifying and ancient. If you could be any superhero and go back to the catacombs, and face off all the demons, what superhero would you be?

Perdita: Ooh! Golly, I’m not very up on my superheroes! Who would I be? Well I don’t know if she’s really a superhero, but what was the name that Alan Cumming played like in X-Men, he was a little black sort of–oh, no! I’m gonna be, oh, what’s the name of that… Rebecca Romijn-Stamos played in X-Men and Jennifer Lawrence played now?

Mystique!

Perdita: Mystique! Yeah! That would be cool. It’d be handy! You know, to just blend in and whatever. And also, she’s a good ninja.

As Above, So Below is in theaters now. Head here for our review, and here for our interview with director and writers John Erick Dowdle and Drew Dowdle!

Geekscape Movie Reviews: ‘As Above, So Below’

by Eric FranciscoAugust 29, 2014

I grew up in New Jersey. Being one of the first colonies of the United States, the simple passage of time over generations has given life to urban legends and myths that knowledge of it become as normal as a day in the park. There’s Clinton Road, the Devil’s Tower, the Gates of Hell, the abandoned Lambertville High, Midgetville, and a slew of others I grew up hearing about. In middle school my friends and I debated what superheroes we would want to be if we fought the Jersey Devil as if he were an anime villain. In high school I went with my buddies on a day trip a few weeks before graduation to the fabled Devil’s Tree, where the Ku Klux Klan used to lynch people. I didn’t see it, but a few years later my best friend told me we were followed by a pick-up truck on our way out.

It was these stories and places that fueled my fascination for As Above, So Below, the new found-footage horror film from John Erick Dowdle. Set in beautiful Paris and not grungy New Jersey, the film follows a small team of urban explorers as they traverse the catacombs of Paris — you know, the tunnels with REAL SKELETONS everywhere — in search of the fabled Philosopher’s Stone. Leading the group is the brave, smart, but haunted Scarlet Marlowe (The Tudors‘ Perdita Weeks), who is determined to redeem her father’s disgraced legacy and prove the existence of the renamed thing from Harry Potter. With her, an amateur documentary filmmaker Benji (Edwin Hodge) — hence the presence of cameras — and an expert explorer who shares a past with Scarlet, George (Ben Feldman, Mad Men‘s Michael Ginsberg). Coupled with some lively locals, they make up the people we’ll be stuck with miles below Paris.

EDWIN HODGE AS BENJI. HIS PRESENCE GIVES NARRATIVE PURPOSE TO THE CAMERAS.

It’s a found footage film. You kind of know what you’re getting into with this journey. There will be scares around the corner, weird shit chasing after the camera, and a buffet of other horror movie cliches like rocking chairs and singing children. Only now we’re in a tunnel that could have been creepy enough on its own, which I think is the biggest problem with the film: It resorts to tried and true devices when something new really could have been explored.

It is in the characters we must rely on for investment, which makes the film’s journey easy. The central characters range from compelling… to horror movie basic. I’m a big fan of Scarlet Marlowe (but I hate freaking hate her name. She has red hair!). She’s supremely intelligent, brave, but dangerously impulsive. She’s like Indiana Jones and Ellen Ripley, but with a millennial “screw you all, I’m going in” attitude. Her father was disgraced for basically believing in magic, and Scarlet seeks to redeem his name and she does so to the danger of the rest of her peers. She’ll jump right into a tunnel or something at the cost of a co-explorer’s sanity or safety. You have to reason her with yourself: Either she’s horrible for putting lives in danger for the greater good, or everyone knew what they were getting involved in. Because, this is a horror movie of course, and people need to die. There is a moment when I thought everyone would be fine — how weird and kind of cool would it be to see a horror movie where everyone survives? — and then immediately it’s like Game of Thrones. But there is less investment to be had in the secondary and tertiary characters, so you won’t have any Red Wedding moments, unless for some reason you really love them. It’s a bit of a let down too, because there was potential in them. They’re colorful and fun. Sitting in the van just before they explore darkness, they are freestyle rapping and doing De Niro impersonations. But there’s no time for them, only for Scarlett and George, but that’s okay, because Scarlet is a powerful presence on her own.

SCARLETT IS A POWERFUL CENTRAL CHARACTER MORE FILMS NEED. SHE'S LIKE LARA CROFT WITH LIKE THREE PH.D'S. — SCARLETT IS A POWERFUL CENTRAL CHARACTER MORE FILMS NEED. SHE’S LIKE LARA CROFT WITH LIKE THREE PH.D’S.

The environment and location is the film’s true co-star. Ever since I read about the catacombs in a Cracked article, I thought how cool it would be to film a movie down there. But I imagined a fantasy film, the catacombs as the lair of a dark villain. I should have expected the first film to get down there to be a horror movie. But the filmmakers filmed in the actual, prohibited areas of the catacombs, and it’s pretty damn terrifying (A horror movie setting an eerie mood, who could have guessed?). Tight spaces and dark tunnels, make up the film’s physical location for its scares and it fucking WORKS. Echoes! Satanic chants! Screams! It chills to the bone. Dowdles’ previous work include Quarantine and Devil, so I shouldn’t be surprised that terror in tight spaces be his kung-fu style. But major props to the sound engineers, because crumbling rocks have never sounded more terrifying. It is truly the film’s achievement: Something mundane as dust can be used for thrills.

The tunnels being the gates of hell is something out of a fantasy film, but in a found footage flick it becomes something way more personal. Almost all the characters (the important ones, anyway) have some kind of baggage. Scarlet has her father, while the others have their own demons. From families they couldn’t save after accidents to claustrophobia (admittedly too easy of a character trait given the premise), they’re haunted by their own demons and the devil is laughing in their face. It makes for a nice metaphor for confronting fears and overcoming guilt. But it’s also kind of cheap, and although fascinating during the film’s running time, it doesn’t leave much when the credits roll. “Cheap” isn’t what I’d describe the film in the literal sense — for a found footage film it has remarkable production value, which is an achievement given the skeleton crew (I’m so, so sorry) — but cheap is what I’d have to describe its storytelling. Cliches galore in the film, but it didn’t have to. These people are surrounded by dead people. I don’t get the value of empty chairs.

There is something of a video game structure to the film as well, which is novel given the genre. In the film’s surprisingly gripping climax, the film turns into something like a mix of Mirror’s Edge, Tomb Raider, and Resident Evil. One would think found footage would take far more advantage of its video game-ness, but rarely do films actually do. Doom did it, and it was the only fun scene in that whole movie. It’s one more cool thing As Above, So Below does pretty well, even if it probably doesn’t do it with much substance or style.

As Above, So Below is easily dismissible as another found footage film, but you shouldn’t! Found footage is an extremely difficult genre that has the potential for true, expert cinematic storytelling but has been plagued by amateurs and cheap filmmaking. As Above, So Below rises above (again, I’m so sorry) basic genre rules but is hindered by its own hesitation to venture into truly new territory. It does so many things right — its compelling central character, probably the coolest location to ever film a movie, expert sound design, an interesting take on Christian mythology, remarkable production value, and appropriate horror movie thrills — but it does several big things wrong that might leave the film as just a footnote. The ending doesn’t quite stick or make much sense, and it is unclear what exactly the Philosopher’s Stone purpose or fate was (It can heal people! And then it doesn’t). The film is plagued by horror movie cliches and is wasted in the novel setting. The rest of the characters show flashes of potential that never meet up to what is promised.

As Above, So Below almost takes the troubled genre to a new level, but its scared to do so and is bogged down by its own reservations. The film is kind of like its own characters: Haunted by the genre’s past, it fails to fight back and truly do something daring. What that could have been, I can’t tell you. But the film has enough terror to keep you for ninety minutes, and if you truly let it, the film can be as terrifying as confronting your own personal demons.

As Above, So Below scores a devilish 3/5.