Olga Kurylenko on Playing a Lost Astronaut in ‘Oblivion’

Olga Kurylenko Oblivion photo

WRITER’S NOTE: This article was written in 2013.

Ever since her breakthrough turn as Bond woman Camille Montes in “Quantum of Solace,” French actress Olga Kurylenko has left quite the impression on us. In her latest film, “Oblivion,” she stars opposite Tom Cruise as Julia Rusakova, an astronaut who literally drops out of the sky and reveals to him the truth of his existence which has long since been denied to him. It’s a movie with many twists and turns, and talking about is tricky because nobody wants to give any important plot points away, but Kurylenko did her best to talk about “Oblivion” without spoiling anything for us at the movie’s press conference held at the Universal Studios backlot.

I was lucky enough to attend this press conference, and Kurylenko proved to be as beautiful off screen as she is on it. The role of Julia was one she put a lot of thought into, and she explained how the character appears onscreen was the result of her own research as well as working with the movie’s director Joseph Kosinski, who previously directed “Tron: Legacy,” and Cruise. The way she sees it, the creation of Julia as a character was the result of a lot of team work.

Olga Kurylenko: Basically, I spoke a lot, with him (Kosinski) and with Tom. Also, the three of us would have meetings to discuss our characters and our characters’ backstory. We rehearsed. I watched videos of astronaut trainings. I watched some old romantic movies as a preparation and inspiration. It’s a work in process. You grow together.

One has to wonder how difficult it was for Kurylenko to play Julia because there is only so much she can reveal about this character in “Oblivion.” How does one go about playing a character without accidentally unlocking their secrets sooner than later? A simple look or a line of dialogue can easily unravel a character’s mystery because these days audiences are always trying to stay one step ahead of the filmmakers, and keeping secrets from them is damn near impossible. However, it was the secrets of Julia that really made Kurylenko want to do this movie.

OK: What I found very interesting was the fact that there was this mystery to Julia, that I couldn’t reveal everything right away about her after her very first appearance on screen, and that she had to unravel and uncover her story during the whole film. She’s a completely different thing in the end than what we see her as in the beginning. All that mystery was interesting to work on.

Of course, one question on all of our minds was of what it was like for her to work with Tom Cruise. So many things have been said about Cruise over the years, both good and bad, but Kurylenko had nothing but the kindest things to say about him. In fact, she even said how stunned she was at how much he was willing to give as an actor during filming.

OK: He’s a big star and he’s a wonderful actor. We know that, but only his partners and other actors know how much he gives to the other. He gives so much. He’s such a generous partner, and that’s not always the case. I’ve never seen him sit in his trailer. He’ll always be there. If the camera was on me, even if he was far away, just for my eye line, he would prefer to be there. He would never leave the set, even if I told him seriously, I don’t need you, he would still be there because he is involved one hundred percent. That’s a wonderful thing.

Kurylenko also described Cruise as being especially supportive in their scenes aboard the Bubbleship, a spaceship which Cruise’s character, Jack Harper, flies all over what’s left of planet Earth. Those scenes were shot in a gimbal on a soundstage, and there is some behind the scenes footage which shows the two of them spinning all over the place and going upside down which quickly reminded me of a certain amusement park ride I went on as a kid. Being that Cruise is also a licensed pilot, this allowed Kurylenko to put her complete trust in him.

OK: He talked me through it. He knows how it works. It’s very reassuring to have a partner like that. He’s not just an actor who’s there who has no idea. He technically knows how things work. You feel safe with him. I threw up in the beginning when I came out of the (gimbal), so that was done, but I don’t get sick from motion. Thank God. I don’t care. I can be on a boat and everything. It’s rather that I don’t like it psychologically, being thrown around. I don’t enjoy rollercoasters. That was like being in a rollercoaster and a washing machine at the same time because it was spinning all the time. I usually don’t like to go into washing machines when I have a choice, but here I didn’t have a choice. Tom looked at me and said, “You don’t have a choice.” In a way, it’s all these great memories. Today, they sound very funny, so it’s great to remember. It was funny how I slowly adjusted to that machine, because in the end, I was fine. But, in the beginning, it was tough.

Olga Kurylenko continues to give memorable performances which will eventually have you remembering her for a body of work instead of just one single performance. Other actresses like Jane Seymour, Famke Janssen and Diana Rigg have become known for more than being a Bond woman, and the same is certain for Kurylenko as she moves on to her next project which is Terrence Malick’s “To the Wonder.”

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Olga Kurylenko Talks About Losing Herself in Terrence Malick’s ‘To the Wonder’

 

To The Wonder Olga Kurylenko

WRITER’S NOTE: This article was written in 2013.

While former Bond woman Olga Kurylenko gave a compelling performance in “Oblivion,” she gives an even greater one in Terrence Malick’s “To the Wonder.” As Marina, a European woman who moves with her American boyfriend Neil (Ben Affleck) to Oklahoma, she is fascinating to watch as she goes from being deliriously happy in love to becoming emotionally devastated when their relationship turns sour. Seeing her dance her way through a sterile drug store to becoming so upset at how bad things get makes you see what she is capable of as an actress.

Going from a big budget science fiction film like “Oblivion” to a low budget “art film” like “To the Wonder” was clearly a study in contrasts for Kurylenko, and she joked about how she at least had a trailer on the set of “Oblivion.” She went out of her way to discuss the differences between the two films to Sheila Roberts of Collider while at the “Oblivion” press conference, and it’s one of the few instances where we get a good look at how the secretive and elusive Malick works with his actors.

“It was very different. They couldn’t be further apart from each other,” Kurylenko said of “Oblivion” and “To the Wonder.” “In Malick’s film, for example, there was no script and that’s the difference. Here, with ‘Oblivion,’ the script was very detailed and very precise. The way Malick worked with us, he never rehearsed, and he was actually against any rehearsal.”

“Malick just throws actors in, but there is a backstory and again lots of conversations,” Kurylenko continued. “The way I built my character was by talking with Terrence all the time. We just spoke, spoke, spoke. I had a little homework to do before I started the movie. I had to read three Russian novels: ‘Anna Karenina,’ ‘The Idiot’ and ‘The Brothers Karamazov.’ Those are very tiny little novels (laughs). After that, I didn’t really need to read a screenplay. We just spoke. There were discussions about what I drew from the books, how we can compose the character, what similarities there are between Marina and different female characters in those books, and that’s how the character was born. It was a mixture of Dostoyevsky, Tolstoy and Terrence Malick.”

Kurylenko describes working with Malick on “To the Wonder” in even greater detail in an article she wrote which appears on the Black Book website. In the article, she makes her experience seem incredibly vivid as she describes how free spirited she became while on set. Once she and Malick had their discussions about the character, he let her run wild and encouraged her to find that elusive thing he called “the Wonder.” What is “the Wonder?” Well it sounds like the deep fascination we have with the ways of nature, and we constantly lose our fascination with that in our busy lives and continued dependence on technology. Anyway, from what Kurylenko wrote, it sounds like she was both eager and ever so desperate to find it.

“Terry smiles and I jump, twirl, run, and jump again,” Kurylenko wrote. “He claps, ‘more, more, more, like a rabbit!’ But then the Wonder suddenly goes missing. I scream and run into the house-throwing things, breaking things. It rains pretzels and cereal and there are more screams, but now they’re not mine, they’re Neil’s, and I’m laughing wildly and crying-my Marina is hysterical, unstable. I collapse on the floor and I wipe my tears from his shoes and kiss them. I ask, ‘Why do I do this? I want to be good, so good, but sometimes I suddenly feel possessed.’ And I beg forgiveness.”

“I receive pages every morning, sometimes ten, sometimes more,” Kurylenko continued. “They’re not exactly a script. Whether one exists or not is a complete mystery, but the words are (excuse my poeticism) rather like a breakfast for the soul. And every morning it’s a feast! If I digest the sense of what the pages contain, the nature of Terry’s words will shine through my eyes while we’re filming, and I won’t even need to speak. Every sentence is filled with such deep knowledge of the soul.”

One great thing I learned while looking into the making of “To the Wonder” was how Kurylenko always stayed in character even when the cameras were not rolling. Some actors believe their work stops when they have no lines of dialogue to speak or when the camera isn’t focusing on them, but any great acting teacher will tell you your work never stops even when the day is done. Kurylenko understands this perfectly, and she told Liz Braun of The Toronto Sun how this made “To the Wonder” more physically challenging for her than “Oblivion.”

“It was exhausting, because I was the character even when the camera didn’t film me — you have to be with Terrence because you never know when he’s filming you, and he doesn’t like rehearsals,” Kurylenko told Braun. “Terrence is someone I utterly admire and love. I trusted him completely, because he made me do somewhat ridiculous stuff. I never said no. I did everything, and I was dancing, moving through nature, walking constantly.”

While it may seem inconvenient for Olga Kurylenko to have two movies out at the same time as one might bury the other at the box office, the upside is both of them show the range she has as an actress. We cannot deny Kurylenko is a very talented actress, and it will be interesting to see where her career goes from here. Her role in “To the Wonder” might be a once in a lifetime opportunity, but hopefully more of those opportunities will come her way very soon.

SOURCES:

Sheila Roberts, “Olga Kurylenko Talks OBLIVION, Flying the Bubbleship, How Her Bond Experience Helped Her with Action, and More,” Collider, April 13, 2013.

Olga Kurylenko, “Olga Kurylenko on Terrence Malick and Filming ‘To the Wonder’-In Her Own Words,” Black Book, April 11, 2013.

Liz Braun, “Olga Kurylenko compares ‘Oblivion’ and ‘To the Wonder,'” The Toronto Sun, April 17, 2013.

 

 

‘Oblivion’ is Familiar, and Yet Visually Unique

Oblivion movie poster

On one hand, I feel like I should be punishing “Oblivion” for its lack of originality as the story will easily remind viewers of other science fiction movies like “Total Recall” (the original, not the remake), “Moon,” “The Matrix” and “Logan’s Run.” On the other, I found Joseph Kosinski’s film to be a compelling piece of entertainment, and I liked how he took various elements from those sci-fi movies and put them together to create something which feels more original than I expected it to. The look of “Oblivion” is incredible, and the film benefits from a very strong cast, great visuals, and a truly awesome music score.

Like many science fiction movies, this one takes place in a distant future. The year is 2077, and sixty years earlier an alien invasion destroyed the Moon, which in turn decimated Earth and left it in shambles. Jack Harper (Tom Cruise) is one of the last human beings left, and he and his communications officer Victoria Olsen (Andrea Riseborough) spend their days helping to harvest what’s left of the planet’s natural resources and repairing drones which help protect it from further alien invasions. They are due to leave Earth in two weeks so they can rejoin the rest of humanity which has long since relocated to another planet. Of course, we all know what happens when people say they only have a few weeks before they leave Earth; they don’t.

Talking about “Oblivion” from here gets complicated because I don’t want to give away the story’s twists and turns and have it seem like a plot summary stolen from Wikipedia, but I’ll do my best. One day, a spaceship crashes on Earth which carries a number of capsules with astronauts sleeping inside them. One survivor is astronaut Julia Rusakova (Olga Kurylenko) who, once awoken from her deep sleep, she makes Jack see he has a past which has long since been denied to him.

This is all I’m going to say about the plot as telling you more would be spoiling the fun. Granted, I have seen many science fiction movies, so when the plots twists and turns came here, I wasn’t surprised. At the same, I was very much enthralled by what was going on. Even if I had a pretty good idea of what was coming next, I was still glued to my seat and eager to see what direction the film was going to head in next.

Much of the success with “Oblivion” comes from its distinct visuals which are very striking, and a lot of the credit for this goes not just to Kosinski but also his director of photography Claudio Miranda. I’ve lost count of how many post-apocalyptic movies which show Earth obliterated beyond all repair to where everything is dark, grey and gloomy. Many famous landmarks like the Empire State Building are shown to be either barely standing or covered up with a lot of dirt in “Oblivion,” but this is the first movie of its kind I can remember which takes place mostly in the daylight. While Earth isn’t in one piece in “Oblivion,” there is still a unique beauty to how it looks here. Those snowy mountains still look worth skiing on, and I found it rather comforting to see plants, grass and trees still growing even after an alien invasion, and this gives the movie an uplifting feel.

The other thing I really liked about “Oblivion” was the architecture of the buildings and the design of the spaceships. The Sky Tower which Jack and Victoria live in is beautiful, and I would love to live in it. This tower looks like the world’s most unique condominium, and I’ve never seen anything quite like it before. Also, it has the coolest swimming pool ever, and it makes me more excited about swimming pools than I have been in ages. Plus, I doubt I will see a cooler looking spaceship than the Bubbleship Cruise flies all over the place.

This is only Kosinski’s second movie as a director, but here he seems to have found his filmmaking voice this time around. His first film was “Tron: Legacy,” and like many eagerly awaited science fiction events, it was greeted with an obscene amount of hype and a lot of fan indifference. With “Oblivion,” however, he is not restricted to staying within certain boundaries dictated by a previous film or a long-running franchise, and he also has a stronger story (based on the graphic novel of the same name by him and Arvid Nelson) to work with as well.

Kosinski also benefits greatly from having M83 and Joseph Trapanese as his music composers here. Their score to “Oblivion” is much like what Daft Punk’s was to “Tron: Legacy:” a beautiful combination of electronic and orchestral music which sounds far more original than any other film score I have listened to recently, and it adds so much to the striking visuals of “Oblivion” as well as the emotion inherent in the story.

Much has been said about Cruise as a person these past few years, but I’m still happy to defend him as an actor. His work as Jack Harper is actually quite understated, and he never descends into the state of “grinning like an idiot every fifteen minutes” (as Dougray Scott described him in “Mission: Impossible II”) for too long. That grin does come along from time to time, but not in a way which ends up annoying half the audience. Along with his strong performance in “Jack Reacher,” his work in “Oblivion” proves he’s still a better actor than people tend to give him credit for.

Kurylenko, since her performance as a Bond woman in “Quantum of Solace,” has proven to be far more than a pretty face. This should have been made clear after we saw her in Terrence Malick’s “To the Wonder,” but there’s no mistaking her talent in “Oblivion” as she creates a complex portrait of someone who knows more than she lets on. I also very much enjoyed Riseborough’s performance as Victoria which was sweet and yet somewhat devious, and I look forward to seeing more of her work in the future.

Then there’s the great Melissa Leo who plays Sally, the mission control commander with a thick accent who oversees Jack and Victoria’s work from afar. Just like in “Flight,” she gives her character a sweet voice tinged with serious intentions which leaves the viewers on edge. As nice as she sounds, you can tell there’s some evil plot lurking behind her eyes. Some may see the role of Sally as a small one, but in Leo’s hands, no role can ever seem small when she plays it.

Oh yeah, Morgan Freeman shows up as well as Malcolm Beech. To say more about his character would further give away certain plot points, but I can confirm he gives the usual strong performance we always come to expect from him. Also, it was really cool to see him shooting a heavy-duty pair of fifty caliber machine guns as I’m not sure I have seen him do so before.

“Oblivion” may seem overly derivative, but then again, most movies released these days are far from original. What matters to me is that a filmmaker can take elements from the movies which inspired him/her and make them their own, and Kosinski has succeeded in doing so here. I very much enjoyed how “Oblivion” took me down the rabbit hole films often do, and I absolutely loved the visual look of it. It also benefits from a number of strong performances and a fantastic film score which sounds epic in a way other scores can only aspire to. When all is said and done, this film is quite a cinematic accomplishment.

If you can, see it in IMAX.

* * * ½ out of * * * *