Ana and Keanu were cracking up, like, You realize that this is not sexual at all, this is actually the opposite. I had never done a sex scene before and my fiancé was directing the movie, so it was really weird. Still, the hardest part for me was probably the sex scene. To portray a real person who has all of these different arcs constantly going up and down, that’s always tough. For me, it was very tricky and hard, and fun-because I love a challenge-to portray that. They’re aware of that, and they use it to get what they want, to prove a point. What I love about them is that they use their sexuality and their womanhood in their favor. I thought that what worked about Genesis and Belle was that there was a certain subtlety of constantly changing of personalities. Here’s the thing: I thought that what was really important for me was that everything was really subtle. What was most difficult about playing Genesis? I was like, “Wow, I’m becoming really method here, this is working.” There was a huge, massive release. At at a certain point, I just started crying all of these emotional tears. I felt terrible destroying them, because I actually met the artists during pre-production, and they did such a wonderful job, and here I was destroying it. He found all of these incredible local, up-and-coming Chilean artists to do all of those sculptures. Our art director, Marichi Palacios, did an awesome job. When we were destroying a set of statues, it was physically very hard, because they were real statues, not props. Of all the destructive things you had to do, which was the most enjoyable? I wasn’t really in the scene I was just in my mind thinking, This is happening.” I could not stop thinking about how I was cutting Keanu Reeves’ hair. How do you feel about this?” He was like, “Yeah, yeah, just cut it, man.” So Ana was sitting on top of him, and I’m cutting his hair. But I had go up to him and say, “I’m gonna have real scissors. I really cut Keanu Reeves’ hair! I told my mom, I called her and said, “Mom, I’m really nervous.” And she goes, “OK, but it’s a wig.,” and I told her, “No, I’m cutting Keanu Reeves’ hair! Mom, it’s Neo, what do I do?” Genesis does plenty of terrible things throughout the film, but at one point she cuts Keanu Reeves’ character’s hair. There are glimpses that you could maybe get, but it’s easy to lose them. It reminded me of Fatal Attraction and Hard Candy and Funny Games. I feel like it was a risky script and I don’t see that very often.ĭid you create a backstory for the character, then? Watching the movie, you don’t get a sense of how she ended up the way she is. What an awesome character to play there’s so much going on in her little brain, and there’s the love between her and this other character, Belle, which I thought was so interesting. When I read Knock Knock I saw this very troubled human being who at the same time was empowered and very powerful, with a mission to sort of show the world what men can really be, and to say that the rules are not OK with her. Your character, Genesis, makes a strong case for never opening the door to a stranger. Here, Izzo-the Chilean-born actress who also stars in the recent thriller The Green Inferno-explains the draw of scary movies and why a simple haircut might have been the most terrifying scene of her career. What follows is a tense, frightening game of cats-and-mouse that makes it clear nothing a viewer thinks he knows about anyone involved is even remotely true. In Knock Knock, the enthralling new horror film by director Eli Roth, two young women (Lorenza Izzo and Ana de Armas) appear at the door of an architect (Keanu Reeves) whose family has gone away for the weekend.
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