Interviews
[Interview] Alice Braga on Being A Female Action Star & ‘Kill Me Three Times’
Alice has had enough. She’s finally decided that she’s not going to put up with her abusive boyfriend Jack any longer, especially when her lover Dylan is just waiting, ever so patently, to whisk her away to a better life. She puts her foot down and hits the road, but first, she makes a pit stop to see her friends, Nathan and Lucy Webb. Just when she thinks that she’s finally on the path to freedom, she’s yanked back into her nightmare by the people she thought she could trust the most. Kill Me Three Times shows just how far people can go when they need the money badly enough.
Full of life and clearly in love with her craft, Alice Braga is a very mesmerizing and intelligent woman. When we chatted a few days ago about her upcoming film Kill Me Three Times, it felt more like two girls getting coffee than a formal interview. While we sat and giggled our way through the conversation, Alice talked about her instant chemistry with Luke Hemsworth, her love of stunt work, and the importance of taking on fast-paced action roles as a woman in Hollywood.
Kalyn Corrigan: How did you go about signing onto this film? What was the process like? Did your agent ask you to audition, did the director come and speak with you and say he’s seen your previous work and he loves you? What was that whole process like?
Alice Braga: Laurence Malkin, he was one of the producers, one of the American producers, he’s my agent’s brother, and actually I got attached to the project, it came to me like years ago. I can’t even remember how many, but I think like four years ago maybe? It was a long, long, time ago, and they actually had another director attached to it, and we spoke. I was curious about it, it wasn’t certain, but time went by and when they attached Kriv to direct, they called me and said “Look, we have this director, it’s going to happen”, and they started pulling together a bunch of different actors which was super interesting, and I was already ready, in a way, for the project. So it came through the producer, and then it came together with my desire to work with Kriv, I’ve seen Boxing Day and I loved it, and Red Dog so it was interesting how it came about. I think it was meant to be, in a way, because I was the first one to be attached. Before everyone else.
KC: Before anyone? So what was it that drew you to the script? Was it the director mainly that made you want to do this film?
AB: I mean I was curious about the story when they told me a long, long time ago. The script was super different. Well, not super different, but it had changes, and got better and better and better, but when Kriv got attached, and Simon and everybody pulling together, it just became interesting in the sense of not knowing whether it was going to be a drama or a comedy but a halfway through and Simon’s such a phenomenal actor that it was just interesting to see what he was going to bring, and I think he brings it.
KC: Yeah, definitely. So, since you were the first to be attached, what was it like when Luke Hemsworth came along? Was there instant chemistry? Was it something that grew over the course of filming?
AB: I did a chemistry reading with different actors and Luke was one of them, and actually, funny enough I have the same manager that Luke has. I knew Chris [Hemsworth] before because he was around L.A., and I met him a couple of years before meeting Luke, so I knew of him and all that, but it was great, he’s such a wonderful guy. I remember when reading, he was very honest and truthful in the scene that we were doing and I really liked his work, and right away, there was a connection. On set, we became good friends because he was far away from his family, I was far away from my family, even though his family is in Australia, so it just came up like very natural and I think through mutual respect toward how we were facing the characters, I think Luke was very honest with his feelings in the character and in the moment, very truthful. So it was great, it was wonderful to work with him.
KC: Do you think that had a positive effect on the film?
AB: I think so, definitely, I mean I hope so (laughs). People are starting to see it now, because I’ve only spoken to managers and actors and agents and producers so you never know. It’s nice to have other people’s point of view, but I think so, definitely, yeah.
KC: What was it like filming the action scenes? There’s a lot of crazy stunts. Did you do any of those yourself?
AB: I did almost everything. There’s a stunt girl that did some, like she did the rolling down the hill one and all that because I couldn’t do it, she did a lot actually, but some of them I wanted to do myself, especially because of camera-wise and all that. It’s fun to make, especially. Apart from that, you bring more reality to it. I love those things, like for me, it’s like Disneyland. I’m like, “Let’s do it!” It’s like a kid playing in the playground. So yeah, it was a challenge, physically you need to be ready for it and not hurt yourself, but of course, I know my boundaries. But it was a lot of fun. I hope people can notice it’s me, then it’s worth it to go through it.
KC: Were there any stunts that you wanted to do that the crew was like “no, it’s too dangerous, you can’t!”
AB: Rolling down the hill. (Laughs)
KC: Yeah, you wanted to do that? (Laughs)
AB: I mean, it looked fun. I was like, “Let’s roll!” But they wouldn’t let me do it. I mean, there was a lot of rocks, they would never let me do it, and I would never do it. I’m just saying that to be cool. I’m kidding. (Laughs)
KC: So did you go through a lot of training for your action scenes, or was it just something that you did on your own time?
AB: I always train myself and I’ve done a lot of action films, so it was something that was natural for me. I work out normally and all that, even though in Australia I was a bit lazy, because it was just so beautiful I would go to the beach with wine in my bag and that’s it. But normally, I’m kind of ready for it. I did a couple of action films that kind of like made me be ready for these type of things, but for this one, no, I think it was just something that I threw myself into it.
KC: Yeah I’ve noticed, looking at your film resume, that there’s a lot of action films and a lot of fast-paced thrillers, so was is it that brings you back, that draws you to this genre?
AB: I love making films no matter what, I come from independent films in Brazil, very indie, small drama films and since I came to the U.S., that door opened, like I did I Am Legend, then I did Predators, then I did Repo Men. There were some type of films that came in my direction and the doors opened for me to work on these types of projects, and I think, especially being a foreigner, those were the types of films that were open for a foreigner, and that was very interesting. I kind of like doing the auditions and getting the parts so I think it was a happy coincidence. I have so much fun and I love them so much, and it’s great, because I got the chance to work with great directors and actors that helped me to learn a lot about acting, but also about these types of projects, so it’s fun.
KC: It’s really cool that you’re willing to take on those roles.
AB: I love it. And it’s so funny because sometimes I get like very strong and powerful women, and I look at myself, and I’m like, I am like 5’2 or 5’3 (laughs), and I’m like really? Me with a gun? Like in Predators I’m a sniper and I remember when we were filming, I was like “Who is gonna believe this? Guys, come on. Look at this rifle. This is not believable.” And everyone, after the film was released, all the fans and everyone were like “Oh my god!” They believed it! I was like “Oh thank god they believed it.” Because I’m just like 5’3, very short, very tiny girl. It was fun, it was great. I love these types of films. I think physically and emotionally it’s always good when you have to change yourself and mutate yourself through a character.
KC: And that’s so great that you’re willing to do that, and the definition of roles for women in Hollywood is growing and expanding in definition. So, how important is it for you to take on these roles that would normally be reserved for a man in the past?
AB: I think it’s great! I think we’re in a moment that there are so many good female characters, and so many chances, especially like for Latins, to do so many different types of roles. I mean of course there’s Latins in films, but now, it’s not necessarily critical for the character to be Latin, it doesn’t need to be said that this person has to be Latin, a Latin person might just take the role. And I think for women, it’s a wonderful moment. I just did a pilot for a series called Queen of the South that is for USA Network, which we’re gonna figured out if it’s going to get picked up, but it’s a female character and she’s Latin and it’s a very strong character that survives through escaping from the drug dealers that try to kill her and all that, and her own journey starts. You can see nowadays how many strong female characters are coming up as heroes through T.V. and through movies, and I think it’s wonderful. There’s so many ways that you can tell a story with a female lead and it’s wonderful. I think we’re in a nice moment. I hope it keeps going.
KC: Definitely, keep it rolling. What more can you tell me about the show, Queen of the South?
AB: Not much, actually. (Laughs) I told you basically all that I could. No, but, it’s based on a book by this Spanish writer Arturo Pérez-Reverte. He’s a really good writer, and it’s a very famous book, it’s been out for a long time. They tried to make a film I think five or six years ago, and it just approved for the series, and that’s it. It’s about this Mexican girl that lives in Mexico and suddenly her life just spins around she goes through a journey of going through the drug dealing, cocaine world.
KC: When can we expect to see this?
AB: I don’t know, I mean, if it gets picked up, I think October, but we’re still not sure. They haven’t started the tests, you know, with pilots it’s like let it float through the universe and pray.
KC: So, I’m very curious, since you worked with Neill Blomkamp before on Elysium, and he attached to direct the new Alien movie, is there any chance that you might make an appearance in this film?
AB: I haven’t talked to him in a long time, so I have no idea. I would love it if I could be attached to it, I would love to work with him again but I don’t know. I don’t know anything, actually. I was filming when I heard that he was attached to it and I was super happy because I think that Neill is such a young, bright talent. I think he’s so unique, and what he brought with District 9, he was so amazing, and having a chance to work with him on Elysium was such an honor because you see a guy that was like, I think 32 on set? But he was so secure and so passionate and so sure of what he wanted that it was inspiring. When I heard that he was doing Alien, I was so happy. One, for him, because I know how much he loves it, and two, for the project because I think he’s gonna bring a lot to it.
KC: Yeah, I think his style is gonna be great for that.
AB: Yes, I hope he hires me. Put it out there. (Laughs) I’m kidding.
KC: Are there any other upcoming projects that you’d like to discuss? I know you have By Way of Helena coming up.
AB: Yes, I did that last year with Liam Hemsworth, funny enough. I am all about the Hemsworth brothers. I love it. Liam is a sweetheart, we did that with Woody [Harrelson] as well. It’s a beautiful story, it’s a period piece so it was wonderful to get the chance to work with both of them, but especially, to do this project. But really, to see Liam in such a different role, I think people are going to be blown away by his performance. He’s a very beautiful, strong ranger and it’s a nice story. Very crazy. And Woody’s amazing.
Of all the places to find a coven of witches, the attic above a Christian youth camp is probably the last place you’d think to look. But that’s just what we find in Camp, a surrealist nightmare of feminist empowerment from Canadian filmmaker Avalon Fast.
Emily (Zola Grimmer) is still reckoning with her involvement in a horrific tragedy when she accidentally contributes to the death of her best friend, Charlie (Giselle Morison). Unable to move on, the traumatized teen takes a job at a rural summer camp, hoping to forget her own sorrows by looking after at-risk kids. She quickly connects with a counselor named Clara (Alice Wordsworth) and finds comfort in her close-knit group of female friends. But a mysterious whisper from deep in the woods warns that they may be leading her down a darker path.
Fast burst onto the scene in 2022 with Honeycomb, a psychological horror film that follows a burgeoning matriarchy. Known for their focus on “Girl Horror” stories, the talented young filmmaker tackles similar themes in Camp as Emily leaves the modern world behind to embrace a dark vision of self-discovery through magic.
Ahead of the film’s U.S. release on June 26, Bloody Disgusting sat down with Fast to chat about the nebulous nature of good vs. evil and the intoxicating power of female-driven horror.
Bloody Disgusting: What inspired this unique story? Did you go to religious summer camps when you were young?
Avalon Fast: I did. I went to lots of different summer camps, but all of them were primarily Bible camps. The memory I have of camp is kind of strange. I was very homesick as a kid, and I didn’t necessarily enjoy all my time there. I definitely remember meeting some interesting girls at camp and having that presence of religion hovering around the whole experience.
BD: I really love the film’s gorgeous natural setting. Camp is the kind of surrealist nightmare that you don’t just watch. You feel it too. How did you approach creating this world?
AF: Well, a huge part of it was working with my cinematographer Eily Sprungman, who’s a very close friend. We spent years prepping, shot listing, storyboarding, and mood boarding. She’d had a similar experience to mine. We grew up around the same place, and so we understood each other’s visions from the get-go. But there are so many other pieces that came together. The costuming, the art, and the animated sequences were done by Sofiya Iurkevych. One of our producers, Taylor Nodrick, was obsessed with shooting on Super 8 film. I’ve always wanted to as well, so all the memory sequences were shot on Super 8. It was just a lot of people with an understanding and a vision for what this project was. I’m really happy with the way it turned out.
To the extent that you’re comfortable sharing, what’s your relationship to witchcraft, and what does Camp have to say about modern witches?
Well, that’s the question of Camp. It’s not that I don’t resonate with any of these things, but I specifically wanted Camp to be a little bit ambiguous around what witchcraft looks like. Is this witchcraft? Are these girls witches? Emily explicitly asks if that’s what’s happening here, and the answer isn’t yes. The film isn’t going to answer that question for you. My relationship to magic and witchcraft? It’s tough. I feel like there’s so much magic, connection, and spirituality that comes from these friendships, the closeness of these women, and what’s happening around them. A lot of what Camp is trying to say or show is just that magic can come out of friendship.
I loved watching these female friendships develop. And you’re right. No one ever says the word “coven,” but you can feel that connection, and you can see a change in Emily as those relationships grow. I’m also really fascinated with the way Camp plays with the idea of good and evil. At one point, Clara says, “Maybe God drew us to the devil,” which stopped me in my tracks. How do you view witchcraft or the magic these girls are experiencing in regard to good and evil?
That was such a huge part of the script’s construction. The story is really trying to keep a balance between those two things. I like asking people if they think these girls are good or bad, because I feel like a lot of people come out of the film thinking one or the other. They’ll say things like “thank God Emily found her people” or “God, I really wish she’d gone home.” I just don’t think there’s ever an answer. I wanted to explore the idea of going down the wrong path, especially coming out of grief. What makes you a bad person, and does healing mean you’re looking to become a better person? I don’t have an answer, but I do feel like that’s a huge part of what Camp is asking. What is good? What is bad? Why did God bring me to the devil?
Yes, because this is all happening at “God camp” in Emily’s words. So how can both of those things exist at the same time? Along those lines, I’m also fascinated by the voice Emily hears in the woods. Without spoiling too much, what is this voice asking, and what is required in return?
Emily comes to camp with a shout into the void, asking can anyone hear me? Does anyone want to? And it’s answered so clearly by these girls, specifically responding only with love, care, support, and trust. It’s like her prayers were answered. It doesn’t mean that everything is going to be alright, but Emily is looking for peace. She’s looking for a moment where she feels pure good. And I think, even at its surface level, she does get that experience.
Personally, I don’t really think people are good or bad. I think we all exist somewhere in the middle. Camp centers traditionally villainized characters, but that’s where Emily seems to find her peace, however you choose to define it.
I also wanted to show the experience of having decided that you are a bad person, you’ve made mistakes, and you feel cursed. Then when you meet other people who have done things that you would consider worse, you can actually feel good in their presence. You feel like less of a bad person. I think that’s a huge part of the story as well. Emily’s finding her version of other fucked up people, and she feels less fucked up around them. I’ve found that in my own life. It’s a cool thing. I don’t think it’s bad.
I don’t think it’s bad either. It’s finding your home, your people. We meet Emily in the aftermath of unthinkable trauma. Is this a story about mental health and healing?
Witnessing it myself. witnessing other people experience tragedy and then move through grief, you hear a lot of talk about healing or coming out the other side. There’s so much conversation around what that looks like, with self-care and showing up for yourself. I always felt really averse to it. It annoyed me. I think the beginning of the film speaks to that. The therapeutic version of what getting help looks like is obviously very different from what Camp is showing. And again, I don’t have an answer for what you’re supposed to do. But I think that’s another question I was asking: how do you heal? Do you heal at all? Is that the end goal, or are we just trying to get better? It’s something I experienced in my own grief. And the answer, for me, at least now, is just that I’m not looking to get better. So I felt like I hadn’t. I found it hard to find people to have those conversations with. And I think that’s what I ultimately wanted to make a film about.
I love that unanswered question. In my own experience, I’ve had to reframe what healing actually looks like. There’s not really an endpoint. It’s just finding a way to keep going. There’s also an element of sacrifice in this story, particularly regarding another counselor named Jo (Sophie Bawks-Smith). What role does she play in Emily’s journey?
For me, Jo is this human embodiment of Charlie, Emily’s friend. As Jo, she had a life at this camp before meeting Emily, and then was kind of taken over by Charlie’s spirit. I think a lot of people view Emily’s final choice as horrendous and tragic. In a way it is, but for me, if Jo becomes her angel, it’s almost like a self-sacrifice. Jo knows that by sacrificing herself, she’ll be giving Emily power to move forward. In the original script, the girls were supposed to bring out another counselor, JB (Aidan Laudersmith), and burn his body. But I just thought, there’s no way sacrificing this guy could give the girls enough power. There’s just no way, right? Logically, that just didn’t line up for me.
I’m glad you mentioned JB, because he has his own tragic arc. How do men factor into the world of Camp?
The way men factor into my world is so bizarre. I have such little respect for them in my films, which is something I’ve been called on. I think I have to challenge myself in the future to make a movie about a boy because, these boys … It’s not that the men in my films aren’t redeemable, but there’s no depth to these characters. They’re just treated with such disrespect. I don’t know why I do that, actually. That’s something for me to look into. It was the same with Honeycomb. They’re just such peripheral characters. I’ve had people ask about Kayne (Henri Gillespi), the scary guy at the fire, what happens to him? I just think, I don’t know. I don’t care. That’s not the point of the story.
Well, I can say after a lifetime of watching women on the periphery of the story, the course correction feels nice. In a similar vein, I’m in love with your homepage, avalonfast.com. There’s an image of girls on a film set and then a still from Honeycomb in which a blood-covered girl is screaming at the sky. And in the middle, it just says Girl Horror. It’s a really powerful statement that gives me chills. How do you define Girl Horror, and what draws you to these types of stories?
I was obsessed with the term when I started making my movies. It was something I’d come up with to kind of brand myself and describe what I was doing. Then I went through a period where I felt like it was a bit gender exclusive and didn’t interest me as much. But now I’ve come full circle on the term. I think it’s a bit of a commentary on youth and the horror of growing up female. But I think everybody can relate to that experience. I don’t want it to feel like this exclusive thing, that I make movies exclusively for girls, because I don’t think I do. I’m interested in exploring what Girl Horror means. Originally, it was just a title, something I came up with, and now it’s become something that resonates with people. You said it gave you chills. That’s cool for me to hear because there’s obviously some depth there.
Are you working on anything new?
Yes. I am actually making a movie about a boy. That’s the next thing.
That’s exciting! The more I think about feminism, the more I end up coming back to men and boys, because they have a place in the world of Girl Horror too.
Absolutely. It’s all just part of being human.
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