Captivating Tatiana Maslany
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I’ve added screencaps to last night’s amazing Orphan Black series finale to the gallery as well as on the set images from this season and a new promotional image for Stronger. What did you think of the finale last night?! There’s talks already about an Orphan Black movie, is that something you would go see in the cinemas?

Lionssgate released a new international trailer for Stronger. The new trailer includes new scenes. I’ve added screencaps to the gallery.

It’s difficult to get through the trailer for Stronger — the real-life story of Jeff Bauman, who became a double amputee following the 2013 Boston Marathon bombing — without being brought to tears. Jake Gyllenhaal plays Bauman on screen and the movie’s poster, debuting on ET, shows him mid-physical therapy with the tagline, “Strength Defines Us.”

Director David Gordon Green tells ET that his film is more than just a tearjerker, though. “You’re in for a ride,” he said by phone. “That certainly expresses a side of the emotional intensity of the movie, but you might be surprised to find a good sense of humor woven in there as well. Expect a few chuckles alongside a tear or two.”

I’m also so happy to see Tatiana Maslany in this. She’s such a phenomenal actress that deserves to be cast in everything. What drew you to her and then what was it like working with her?
I was a fan of Orphan Black, like so many people, and was just blown away by her range and the diversity of her performance. You watch that show and you don’t know which one is her. [Laughs] She auditioned for this and when I got her in a room with Jake, it was very clear that there was a strong female character that could not be afraid of her empowerment and not be afraid of her vulnerability, someone who really challenged the expectations of the romantic lead in a movie. I loved the questions and concerns that she had, and the ferocity and the levity that she brings to Erin were very important to making this a balanced, complicated character, because it’s not just your obvious love interest. It was an opportunity for us to find someone and invite them into this emotional adventure.

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Tatiana Maslany, After Clone Club


Last month, the ever-twisting Orphan Black began its final season on BBC America. Soon, there will be no more clones—no more Sarah, Alison, Cosima, Rachel, Helena, and seesters—and no more sinister conspiracies to uncover. For die-hard fans of the show—which is, really, anyone who’s watched more that one episode—it’s an equally sad and exciting prospect.

Of particular interest is what Tatiana Maslany, who plays every adult “Leda” clone on the show, will do next. Orphan Black has been a career-defining project for the Canadian actor, who finally won a well-deserved Emmy for her performance last year. She already has several films in the works: come September, she’ll star opposite Jake Gyllenhaal in Stronger, David Gordon Green’s retelling of the 2013 Boston Marathon bombing. Earlier this year, she screened a short, Apart From Everything, at the Palm Springs International Film Festival. Curently, she is working with her boyfriend Tom Cullen on a new collaboration with writer-director Joey Klein.

Here, Maslany talks to another Emmy-winning (and, as of last week, 2017 Emmy-nominated) actor, Orange is the New Black’s Uzo Aduba.

UZO ADUBA: Where are you right now?

TATIANA MASLANY: I’m in L.A. We just moved here three weeks ago. I’m sitting on the floor in one of our rooms that’s unfinished. Are you in New York?

ADUBA: I am in New York. I’m chilling out because I’m tonight I’m seeing U2 for the first time.

MASLANY: Are you a huge U2 fan?

ADUBA: Huge. I love U2. I just got my wisdom teeth pulled and I look like a chipmunk, but I do not care. That’s how much I love U2. [laughs]

MASLANY: That’s amazing.

ADUBA: I’ll be singing and it’ll be fun. I’m really excited to do this; I’ve never done anything like this before. Before we talk about Orphan Black, I just saw the trailer for Stronger and it looks so good.

MASLANY: That was intense. You’re from Boston right?

ADUBA: Yes. The accents are really good.

MASLANY: Always a contentious point.

ADUBA: For sure. It’s hard to do, but you guys are doing it and it sounds authentic. The movie itself looks really good.

MASLANY: We filmed last spring, kind of around the marathon. I’d never been to Boston before and being in the city at that time—being in the city in general—was a really incredible experience. To be telling that story so soon after it happened… people were so supportive of the film being made and really generous. When we were shooting the actual marathon scene there was this extra, who was an actor, but also a lot of his friends were affected by the tragedy and he was too, just being in the city. We shot that sequence of running over five hours, and he and I were the only ones who kept running the whole time. He just kept running to stay with me, and it was just the most beautiful gesture of commitment to being authentic.

ADUBA: I was in Amsterdam when it happened, and it couldn’t have been a more random place. I was visiting one of my hometown best friends, and we were watching the news and calling up family. I tried to explain that everybody celebrates the marathon in Boston; it’s Patriot’s Day, but everybody calls it “Marathon Monday,” and if you grow up there you know what that day symbolizes. What is it like be working on something that is history? This actually occurred, these people do exist; people are feeling it in a different way. What is it like playing a real person versus say, in Orphan Black where you’re playing all these clones on clones?

It’s a daunting thing to be playing a real person and to have contact with her and meet her and be in her circle a little bit. It’s an odd thing. There’s so much responsibility to tell the story honestly and truthfully, and at the same time, you start to develop a friendship with this person—or I did. I felt a real kinship with her and just her generosity. Erin Hurley, who I play in the movie—who’s boyfriend, Jeff Bauman, lost his legs in the bombing—was running and was a mile out from the very end [when it happened]. I think I still struggle with the concept that I was stepping in her footsteps. I took it extremely seriously, but the way I approached her was not like I was doing an imitation or an impression or a characterization of her, but more so what the conflict was that she was going through. I really focused on what she was going through more than her actual mannerisms because, for me, it wasn’t about that. Have you ever played a real person who you’ve met in real life or read about?

ADUBA: I never played anyone I’ve met. Suzanne [in Orange is the New Black] is a real person that Piper [Kerman] met in prison, but it’s still told through the gaze of Piper. It’s not Suzanne’s account of her life, and I never met with her to be able to get my own personal take on who she is and to inject that into the performance. I like what you said about trying to latch onto the emotional journey of what she was going through at that point rather than do an impersonation of her. Is that typically your style of acting and how you come into characters? In Orphan Black, is that how you find a way into all of these women? When clones are playing other clones in the show, are they doing impersonations?

MASLANY: Those moments are the greatest joy. I get to play with all of the things that we do as people where we see somebody a certain way, we judge somebody, we empathize with something in someone—all of the judgments, good and bad, that we have of people and how that makes us behave. If Sarah is playing Alison, Sarah’s judgments about Alison, the impression that she gets and the impersonation that she does. I like playing with the artifice of it and letting the mistakes and the cracks seep through. When I do those scenes, we’ll do the blocking and the rehearsal and, if I’m Sarah as Alison, I’ll do it in Sarah’s voice with Sarah’s physicality. Once the camera starts rolling, I like to let Sarah play as Alison. It throws us all off. It’s letting that character speak, letting Sarah have all of her judgments about Alison and whatever her physical and emotional experience is, which is really fun to do.

ADUBA: I watch the show and it’s genius, just strictly from the acting of it. Just the order and the ability to organize oneself, to have such a clear identity for each character so that Sarah doesn’t become Alison and Cosima doesn’t become Sarah. It needs to be super clear in the actor’s mind in order for us to get it, which, I think, makes you exceptional. How did you come to find acting? I know you were a ballet dancer when you were younger.

MASLANY: I’ve always loved performing in whatever capacity. From the age of 4, I was in hours of dance class—jazz and ballet—and loved it. I don’t know exactly what drew me to it. I would force my parents to watch me and my brother Daniel perform Jesus Christ Superstar for hours in the living room.

AUBA: No way! Are you serious?

MASLANY: Yeah. [laughs] I think I saw it when I was five.

ADUBA: I could start singing it right now. [laughs]

MASLANY: I would love to hear you do that!

ADUBA: I’m not joking. One of my dream roles is Judas.

MASLANY: How has that not happened? I feel like that’s a no-brainer. [starts singing]

ADUBA: I love that guitar. [makes guitar sounds]

MASLANY: I was playing it for [my boyfriend] Tom [Cullen] the other day in the car. We were driving down the highway, and I was like, “I really need to hear the intro to Jesus Christ Superstar.” He was like, “This is the nerdiest shit on the planet.” But we used to dance around to that and make our parents buy tickets for our performances.

ADUBA: At your house?

MASLANY: At our house, in the living room. We’d cut out little tickets; we already had a business sense about it. We would have so much fun performing and making up dances. It was always part of us,. Then when I was nine, my mom saw this audition, a cattle call for kids to play orphans in Oliver at the local community theater. I auditioned for that and it was my first time singing in public. I got the part of “Orphan #43,” or whatever, and that was the beginning of it. After that, I couldn’t get enough of it. I loved the rush of being on stage and how fun it was to be around kids my age who were all getting to play make-believe and dress up in costumes. When you’re a kid and are able to do that, it’s the most fun. Before I moved to Toronto when I was 20, I’d done movies and been away filming in different provinces in Canada. I was really lucky to have fallen into it, but it was only when I turned 20 and a friend showed me [John] Cassavetes’s films, that I was like, “Oh, shit. This is the possibility for what this art form can be and how it can transport people and transport actors.” I really took a second look at what I was doing, because I had been doing it to get attention and for the rush of performing. It was my career, but I was 9 years old to 20, and who actually knows what their career is at that age? For the last ten years, I’ve been deepening my training. The last class I did was a year ago in New York—Strasberg stuff. That’s my favorite place to be, back in class and studying.

ADUBA: It’s about the learning of the thing. That’s my experience, at least. There’s nothing to be gained other than a deeper knowledge of how to pursue the craft of it.

MASLANY: Have you found anything new since the success of Orange is the New Black and the specific accolades you’ve received? Has that changed your approach to work or the way you feel about it? You’re so fearless in your work and your commitment to your character is massive.

ADUBA: I don’t know if this is going to make me sound more sane or crazy, but when I am working, it is the most alive place for me. That statement feels louder that I intend it to, but that’s the only way I know how to frame it. It’s the safest place I know and definitely the most honest place I know. Maybe it’s that charge that you were talking about when you were a kid. When I’m in that space, that artistic, creative space of making something, I don’t think about anything else. Whether it’s the show or a play, all I’m thinking about is how do I get this person from stop A on this train to stop B? I’m still a person and I have my own life timeline happening simultaneously, [but] I love to act. It’s my safe space. I turn off the noise and shut the door on the world.

MASLANY: That’s amazing, that protectiveness of the work. I totally relate to shutting out the noise. Same as you, I feel the safest, the most vulnerable, and the most excited and alive in work.

ADUBA: We’ve seen each other in real life, and I’ve already gushed about Orphan Black, but I’ll gush again. We don’t get to see often, or often enough, what you do played in the female form. It’s pretty fucking cool. What did you feel about that when you were stepping into those shoes?

MASLANY: I was very excited to read female characters like these. I was excited even at the prospect of playing one of them; I was excited to be in the audition room and to get to play a few of the characters for an hour. I was dreaming, obviously, about getting the part, but just doing the audition was a thrill enough. Just to get to stretch and work like that in an audition space, where usually you do a scene and you’re out. This was four different characters, changing in front of everyone, with the process being outed and without any preciousness. I couldn’t step out of the room and be like, “Give me a moment.” I just walked in with a bag of crap in my hands, and was like, “I’m going to put on these glasses now and play in front of you.”

The response that people have had to the show in terms of the questions of identity and the feminist rhetoric, it was really exciting and sort of a surprise to me. Weirdly, the most I was thinking about gender when I was playing these characters was when John Fawcett, the showrunner, said to me, “I think Alison is the most feminine.” I was like “Okay. What does that mean?” I had this block in my head: “What does that mean that she’s ‘feminine’?” I was watching videos to figure it out. For some reason, the characters defy gender to me in a way: Helena is this Ukrainian serial killer who is now domesticated. Gender wasn’t even a concept to her; she was beyond that almost. My favorite actor on the planet is Gena Rowlands and she plays women who, to me, somehow defy gender. They are women, they are feminine, they are masculine, they are everything. There’s something exciting about that. I don’t know how to articulate it exactly. I guess it’s busting out of the archetypes a little bit and not feeling restricted.

With Suzanne, she encompasses so many things and is such a complex character, did you understand her when you first saw her? What was your thought?

ADUBA: When I first saw her, I understood it as simply a love story: this is someone who is in pursuit of love. That’s what I drafted out of what I read. It’s funny, because you were saying you didn’t think of it so much as identity, and I didn’t think of it as so much as orientation. I knew she was in love with a woman, but that did not factor, somehow, into her expression for me. I’ve seen her now fall in love, or attempt love, with someone else, and it still doesn’t hold firm for me. How we choose to define these terms has always been fascinating and curious to me—where that Webster’s definition came from. I’m currently watching and reading and playing a woman for whom that point feels so inconsequential to the action that is being asked of her. When I started, for me it was just a love story, and what I’ve I learned about her over the years is that she falls hard. She is a lover. If she sets her sight on someone, she is committed and that was what I got out of her. She is in, most times to her detriment. That was the thing I latched onto. We’ve seen her play out love in an intimate way, in a maternal way. She’s not a lover or a fighter; she’s a lover and a fighter. She can be both very easily. Suzanne doesn’t always get it right, but she knows she’s trying to do the best she can with the tools she has to make sense of life, the world, the people who love her, and the people who she feels are attacking the people that she loves.

MASLANY: The way you describe Suzanne is exactly the way I would describe Helena in our show—that lover-fighter thing. She hasn’t necessarily been equipped in a way that everyone deserves to be, but she’s doing the best with what she has and she’s learning constantly. Her heart is opening as well as her capacity to fight; the two are growing at the exact same moment. She flips between wanting to be this very socialized, “normal” person, but her instincts are more base and animal, and she has the capacity for both in her. They are in conflict and are married in her at the same time. It’s so much fun to play a character who carries two contrasting things inside of them, two polar opposite drives or instincts.

ADUBA: Are any of the clones going to die? I’m just asking… [laughs]

MASLANY: So, here’s how it ends…

ADUBA: Let me ask you this question: Would you sign up for it again, having now done it?

I would never want to do a similar thing in terms of television. I don’t know if you’ve ever done a one-woman show, but watching that on stage is my favorite thing on the planet. I’m so drawn to people who can do that and I would love to try it someday. I think that’s the closest that I’d ever get.

ADUBA: That would be so cool. I would love to see you do that.


The new trailer for Stronger starring Tatiana and Jake Gyllenhaal came out and it is so good! I bet this film will be incredible and I’ll definitely need tissues to go see it.

Lionsgate and Roadside Attractions have set an awards-season release date of Sept. 22 for Jake Gyllenhaal’s Boston Marathon bombing movie “Stronger.”

Gyllenhaal stars as Jeff Bauman, while Tatiana Maslany plays his girlfriend Erin Hurley, in a story about love triumphing over adversity. Clancy Brown (“Hail, Caesar!”) portrays Bauman’s father and Miranda Richardson plays his mother Patty Bauman.

The film is a production of Lionsgate’s Summit Entertainment label, Mandeville Films, Bold Films, and Nine Stories. It’s Gyllenhaal’s first production under his Nine Stories banner.

Inspired by a true story and based on the New York Times bestseller by Bauman and Bret Witter, the film stars Gyllenhaal as the working-class Boston man whose iconic photo from the 2013 Boston Marathon bombing gained worldwide notice.

Bauman was waiting for his girlfriend at the finish line of the marathon when two pressure-cooker bombs exploded, killing three people and injuring more than 260 others. When Bauman awoke the next day after surgeries and realized he could not speak. He asked for a pad and paper, and wrote: “Saw the guy. Looked right at me.”

That set off a massive manhunt for Dzhokhar Tsarnaev, who was convicted of the murders last year. The book, published in 2014, also describes Bauman’s attempts to walk again and face his new circumstances with grace.

The movie is directed by David Gordon Green from a screenplay written by Boston local John Pollono. Producers are Todd Lieberman & David Hoberman (“The Fighter”), Gyllenhaal, Scott Silver, and Michel Litvak (“Whiplash”). Executive producers are Riva Marker, Peter McGuigan, Anthony Mattero, Gary Michael Walters, Jeffrey Stott, and Nicolas Stern.

This marks the second Lionsgate movie about the Boston Marathon bombing — “Patriots Day,” co-financed with CBS Films and starring Mark Wahlberg, was released late last year. The news about “Stronger” was first reported by Deadline Hollywood.

Tatiana Maslany will be back in Orphan Black Season 5, which will premiere in 2017 on Space. It turned out that the actress has something to do with the decision to have the upcoming season as the last season of the sci-fi series created by John Fawcett and Graeme Manson.

In an interview with Hollywood Reporter, Manson pointed out that it was a creative decision. He revealed it was “very much” a decision with him and Fawcett and “to a certain extent,” as well as Maslany’s.

Manson described Orphan Black as fast-paced show offering a lot of stories each season. For him, they have successfully kept the show sharp and relevant by packing all that much stuff in the previous four seasons.

According to Manson, their biggest fear is repeating themselves and just did not want the show to become “watered down.” He explained that this led to their decision to cancel the series.

Fawcett and Manson made a pact that they would stay with Orphan Black until the end, the latter pointed out. According to Manson, he and Fawcett had “a pretty good idea” for a long time that Season 5 would be the furthest that they could take the ball down the field.

At present, nothing is planned after the Orphan Black Season 5 finale. However, it is said that there is a possibility for a spinoff or a film adaptation in the future.

Orphan Black Season 4 ended with Rachel Duncan (Maslany) happily preparing to meet the Neolution founder named P.T. Westmoreland who was supposedly from centuries ago and was still alive. Prior to this, Sarah Manning (Maslany) discovered that Kira (Skyler Wexler) and Siobhan “Mrs. S” Sadler (Maria Doyle Kennedy) were being held captive by Ferdinand Chevalier (James Frain).

On the big screen, Maslany is set to star in Stronger. Set to hit theaters in 2017, the drama film also stars Jake Gyllenhaal, Frankie Shaw, Miranda Richardson, Owen Burke, Jimmy LeBlanc, Clany Brown and Josephine Cooper.

Tatiana Maslany, who received her second Emmy drama actress nomination last week for Orphan Black, will say goodbye to the BBC America show after its fifth and final season next year. It will wrap up the role of a lifetime for the Canadian actress, who has gotten to wear several different masks from suburban housewife (Alison Hendrix) to fierce Ukrainian (Helena) on the series.

Three years ago, when Maslany was overlooked at the Emmys, Scandal star Kerry Washington was dumbfounded: She’s always been gobsmacked by Maslany’s work.

Today at Comic-Con ahead of the show’s official panel this afternoon in Room 6BCF, Maslany didn’t specify new projects but said, “I’d like to do more theater.” She has two features on the horizon: Kim Nugyen’s tragic-co-dependent love story Two Lovers And A Bear and David Gordon Green’s Boston Marathon bombing feature Stronger opposite Jake Gyllenhaal.

In Two Lovers And A Bear, Maslany plays a wife, who along with her husband brave life in a town near the North Pole. The pic has nuances of The Revenant.

Still, playing all sorts of clones on Orphan Black is the ultimate challenge for an actor. Will Maslany ever find that high again?

“Of course, the quantity (of roles) on Orphan Black was a challenge for me, I but I seek out challenge in my work, and collaborating with different directors is a challenge in itself,” said Maslany.

Graeme Manson, co-creator of Orphan Black, said, “It was our decision to end the show.” Talking with co-creator John Fawcett, they’re completely open to a spinoff series or a feature film, but there’s nothing definite at this point.

“In Two Lovers, the elements themselves were a challenge, and the emotional depth spoke to me. It’s not always about the amount of characters,” added the actress.

In regards to teasing the final season of Orphan Black, will there be more clone casualties? Will the clones reach a peaceful equilibrium?

“I feel like (clones being killed off) have been a threat from Season 1,” she said. “We’re not exempt from that. I don’t see a quiet peacefulness for them; their spirits are restless and they’re not tamable.”

We all already know that Tatiana Maslany has some serious range, being that she’s played an array of clones on BBC America’s Orphan Black. But this year at Cannes she got to show off her intimate side, as well as some serious Canadian winter fortitude, in director Kim Nguyen’s Two Lovers and a Bear, which sees Maslany as a woman who sets off on a trek through the North Pole with her boyfriend (Dane DeHaan) to leave behind their small town and her mysterious past. We caught up with Maslany and talked about her snowy adventures, post–Orphan Black film plans, and working with Jake Gyllenhaal on 2017’s sure-to-be-devastating Boston Marathon bombing drama, Stronger.

At this point do you know there will be a season five of Orphan Black?
We don’t know yet. It’s looking hopeful but we’re not sure yet.

It’s insane you haven’t won an Emmy for your performance in the show. I read somewhere that someone called it Olympics-level acting. How do you stay in fighting shape?
I feel like it’s a natural thing for actors to do to want to play characters. People who do one-woman or one-man shows, or sketch comedians — lots of people are interested in stretching who they can be, changing their aesthetic, changing their internal mechanisms to tell a story differently. I think it’s a natural thing for actors.

Do you relate to one clone more than the other?
Sometimes, yeah. It kind of depends who I’m playing or what they’re going through, but I definitely like Sarah or Cosima as kind of my vibe. Sarah I’ve just kind of grown up with over the years. She’s always felt like the heartbeat to me. And Cosima has a similar energy to me. She’s interesting people. Alison, too. I don’t know. They’re all bits of me. I relate to all of them.

You’ve got such limited time with the show you must have to think strategically about what films you choose to do.
I wish I could have a strategy about it, but for me it’s about what turns me on. What makes me excited and scared, and also what’s challenging and different.

Like playing young Helen Mirren in Woman in Gold last year?
That was amazing. She’s such an incredible actor and to be a part of that story [Mirren plays an 80-something Jewish refugee who takes on the Austrian government to recover artworks that belonged to her family], and to speak German throughout the whole film, and to work with [director] Simon Curtis — all those things contributed to why I was kind of desperate to do that part.

Get any advice on how to be more like Helen Mirren?
She was just, like, “Make this character your own. Don’t worry about what I’m doing. You bring her to life, I’ll bring her to life. If we’re true to the script, people will understand that that’s the same woman.” So she was very much about giving me ownership of that character.

So what turned you on about Two Lovers and a Bear?

I read the script during shooting last season of Orphan Black, and it was so intriguing and poetic and beautiful, and dark and funny at the same time. It had this element of surrealism in it. And Kim Nguyen did this film, War Witch, that was just incredible. So well-observed. It just felt like I was getting to witness a slice of a person’s life. And then the possibility of working opposite Dane DeHaan. He’s one of the coolest actors. He’s so transformative and so compelling and magnetic.

What were the shooting conditions like? Because it’s supposed to take place in the North Pole.
Well, it shot in Nunavut, the northernmost province of Canada, which is, like, the Arctic. I was in electric long underwear.

I didn’t even know they made that.
Oh, yeah, baby. When you live in Canada, you’re very aware of electric long underwear.

Did you grow up under similar conditions?
I’m from Saskatchewan, which is a province in the middle of the country. Very unpopulated. There’s like a million people and it’s bigger than Britain. It’s huge, and it gets very cold. So I was kind of used to this sort of climate, but I wasn’t used to the landscape. The landscape is, like, lunar. It’s so beautiful. There are no trees and it’s mostly craters of ice everywhere. Just white, for as far as you can see. Silence. There’s very little light pollution, so you can see the northern lights. It’s very magical.

Did you have any moments of danger? Of getting too cold or almost falling into an ice crater?
Or getting eaten by a polar bear? Because we worked with a polar bear. There was an element of danger there!

Yeah, they seem so sweet, but they’re ferocious, right?
Their paws are like the size of your body! They will squish you. They will eat you alive. They’re very vicious. So, yeah, that was pretty cool and thrilling. And we snowmobiled to set every day. We’d drive to a certain point and then we’d have to Ski-Doo to get to the location, which was always over ice rocks and stuff like that. It was the coolest thing ever. And we got to build an igloo with everybody.

I don’t remember that from the film.
It’s not on film. It was just, like, for fun. [Laughs] It was just an outing. We got to witness throat-singing, which is this beautiful, Inuit singing style that happens in the throat. It’s like partner singing. It’s so amazing. Oh, and we ate arctic charred caribou.

That you caught yourselves?
We didn’t catch it ourselves [Laughs]. We had friends — lots of people opened their doors to us. We got to meet so many cool people. It’s just the journey of two people who are in love and have to escape, to go south, trying to get away from their past. It’s really simply told, and I think the landscape and the location and the love between these two characters is the main focus of the film.

How did you actually do any work with that polar bear?
Very carefully! There was an electric fence around her, that you can’t see in the movie, so she wouldn’t come at us. You just have to be careful, listen to the trainer, and make sure you weren’t, like, waving food in her face.

You also had another movie at a festival this year, The Other Half, which got great reviews out of SXSW. You were a bipolar woman who falls in love with a depressed man, played by Tom Cullen, right?
Yeah. It was directed by Joey Klein, a first-time feature director and one of my best friends. And Tom Cullen, an amazing actor. We’re all very close, and we’ve been attached to this project for like five years and finally got to make it. It was sort of a passion project for all of us. I’ve never had such a stake in a project before; I was a producer on it, too, so it was just so cool to go to SXSW and see it with an audience and talk to people afterwards.

It’s also a super-intimate two-hander, like Two Lovers and a Bear. Are really simple stories with tiny casts something you need to take a break from the complexity of Orphan Black?
I think it’s more a break from the kinetic nature of it. I’m doing a movie right now with Jake Gyllenhaal called Stronger, directed by David Gordon Green. Jake’s the lead. He plays Jeff Bauman, who was one of the people affected by the Boston Marathon bomber, and I play his girlfriend — now his wife, Erin — and I really love getting to work that intimately with another actor. I’ve been lucky to work with incredible scene partners and I’ve learned so much on these projects. Not having to switch between characters and carry the whole thing by myself can be really nice.

Has it been emotional filming in Boston?
Yeah, I mean it’s such recent history. And the marathon was happening when we were there recently, so it’s very sensitive. Obviously it’s a horrific thing that happened. But the cool thing about that city, and getting to know the people in that city, and going to, you know, a Red Sox game or a Bruins game, it’s just feeling the spirit of the city and how much they — this story is important to them. It means something to them and it’s really incredible the way that they’ve supported it. There’s a huge responsibility on us in telling this story and making sure that it’s defending what happened to these people.

Did you and Jake meet Jeff and Erin? A girlfriend role isn’t something I’d expect you to want to play.
Yeah, we’ve hung out quite a few times. We went to Red Sox things with them. She is such a strong woman. She really is a large part of why he’s able to survive this thing. She’s an incredibly powerful person and had to withstand a lot of difficulty to get to where they are. It’s very much an equal thing, the two of them. It’s not the girlfriend who’s just kind of there, being an accessory. She’s very much her own person.

So does Jake basically have to act without his legs?
Yeah, there are a lot of different rigs and things like that, and CG that will be put in later. His transformation’s amazing. He’s such a physical actor and he’s so committed to that character. He really understands commitment and integrity.

And then what about right now, once you’re done shooting Stronger?

Then I’m going to chill I think, for a little bit. Just hang with my friends in Toronto, because that’s my favorite thing in the world. A lot of them have babies, so I just want to, like, be covered in a pile of babies.

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