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Refn gradually cut the lengthy scene more and more until it was basically a monologue. Gosling also added a suggestion
-- a slur Crystal lobs at her son's female guest -- after Refn asked for one of the most offensive words to call a woman in America. "I couldn't get it out," Scott Thomas says, laughing. "I couldn't get it right until about 10 takes." It's the kind of harsh, hilariously cruel dialogue actors dream of. But Scott Thomas says that while it was an interesting acting challenge "to push the dialogue," "it was such a nightmare." "After a while, once you've been doing this for a long time -- weeks and nights
-- you feel, 'Oh, god, I'd love to say something nice,'" says Scott Thomas. "This hatred and anger and destruction is actually quite difficult after a while. It gets to you once the novelty of the transition is over and you're just stuck in that darkness." Much of the character and her archetypal qualities weren't refined until they were on set shooting. Refn works collaboratively with actors, guided by the boldness of his oft-repeated mantra: "The enemy of creativity is good taste." He was enamored by what "KST," as he calls her, did with the part. "Most of the time, we'd just sit and stare and go, 'Oh my god! What have we unleashed?'" Refn says. "It was what the film needed, the film needed a character like that that would essentially be the antagonist of the protagonist. But she would be so dominating that you could never live up to her, you could never penetrate her." The experience, while clearly enthralling for Scott Thomas, was also unnerving. As much as audiences at Cannes responded to her performance, she exhales: "I'm going to do a comedy next."
[Associated
Press;
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