![]() That’s how they came up with the idea for the movements, which were ultimately choreographed by Ryan Heffington, who worked with dancer Maddie Ziegler on Sia’s kinetic “Chandelier” video. So what is the cinematic antidote to violence? What is another language of expression that doesn’t work on the page but works on the screen … a sort of counter-balance to violence?” ![]() But something about seeing it as a moving image on screen is more visceral and potent that way. “You can read a very violent passage in a novel, and it can be very impacting. “When we first started this, Zal was talking a lot about the idea that violence is kind of a uniquely cinematic thing,” Marling says. It was that idea of dance as a dimensional passport, in fact, that prompted the whole story. She lives in a cell for seven years and befriends others who’ve survived death after surviving another dalliance with death, the khatun restores her sight and bequeaths her with the knowledge that certain choreographed movements can restore life and bridge dimensions. She’s sent to the United States, where she’s adopted, but she runs away to find her Russian father … only to be kidnapped by a scientist researching near-death experiences like hers. In addition to Johnson’s eerie homecoming, she tells her newfound friends that she grew up in Russia but died when a bus fell off a bridge in a beautiful, starry post-life realm, she met a “khatun” (a Turkish queen by definition, but maybe something else within the show’s greater arc) who takes her vision from her and sends her back into the world. What they came up with was something multilayered and quite literally all over the map. The stuff that doesn’t work as well falls away.” The stuff that works, you always remember. If it works – and your partner is entertained, leaning forward and laughing out loud or they’re weeping – you know you’ve got something that holds. “Some days you could have pitched things in a blue streak, and it really feels like you’re just channeling them, riding some wave. ![]() “The way we approach writing is: We start by telling each other a story orally back and forth,” Marling says. ![]() So unlike in a traditional long-format story, you don’t have all the main characters – or the full plot engine – in the first hour.” “Like a really good Ian McEwan book or even Patti Smith’s Just Kids, even though that’s nonfiction. “It would be like something you’d read in a long-format novel,” says Batmanglij, who directed every episode. They weren’t sure what, exactly, the story would be – but they knew how they wanted to tell it. Every night, she tells four students and a teacher the fantastical story – which includes being held in captivity, repeatedly thwarting death, crossing dimensions and gaining supernatural powers – as she teaches them how they can assist her in crossing dimensions.Īfter collaborating on 2013’s The East and 2011’s Sound of My Voice, the indie filmmaker and actress both knew they wanted to dig in to another project. Diagnosed psychotic, she wants to return to another realm and turns to a misfit group from a local high school for help. It stars Marling, who co-wrote most of the episodes, as Prairie Johnson, a bizarre woman who had gone missing for nearly a decade only to come home after surviving jumping off a bridge. The director and his partner-in-crime/star let their imaginations run wild on the subject when they began work on The OA, a fascinating new science-fiction series they created together that is ostensibly about near-death experiences. “And I feel really OK to sit in that space of deep unknowingness.” “I cannot possibly know what happens after you die,” Brit Marling says. “I think that after we die, we become something else,” Zal Batmanglij says.
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