Jennifer Lawrence Tore Her Diaphragm While Filming 'Mother!'

I read that you like it when people boo at your movie because you like that there's strong reactions to your films. Is that true? Yeah. I mean, just as long as there's a reaction. I mean, I don't like that people boo. I'm not a masochist, but I like, I want a reaction from people. So you know, my dad, I called my dad when we got out of Venice to check in and he said, he reminded me that when I was just starting out, we were driving by a theater where my movie was playing and he said that I set point to the theater and I said, dad, all I want them to do is either cheer or boo. If they do nothing, I lose. So I guess I'm still doing the same thing. I wanted to make a film about mother nature. I wanted to make a film from her perspective. I mean, we're working on an allegorical level where it's, it's dealing with, you know, these big symbols and then it also works on a very human emotional level where it's a relationship film as well. I don't know, there have been a lot of people that are, Naomi Klein just sent me a direct message today saying how ironic it is that this film is coming out as Irma is making contact with the United States. And she just wrote this incredible article about how British Columbia is experiencing the worst forest fires in the history of, since, since people have been on this continent. So it's just, I don't know, I think those issues are connected to all of humanity. It's not male or female. It's all of us. The biggest tool that I used for my character was the connection with the house because I see us as, as one organism. By chance I was reading Jane Eyre and then I read the White Sargasso Sea. So to me, this is incredibly feminist in the way that, you know, these Victorian patriarchal novels show these loving, amazing husbands that are very slowly and delicately taking away their wives' dignity. It's not anti-feminist to, to express something or to show something. To be a feminist movie, we don't have to all be women and all be, you know, aggressive. You know, before we even knew what feminism was, people were writing these novels that were showing women's strength being drained away from them. So to me, to answer your first question, this movie is incredibly feminist, but it's also what Darren is saying. It's much bigger. We're taking, you know, allegories and metaphors that are universal and also biblical. You'll know what scene I'm talking about if you see the movie, but I, I went, I had trouble calming down and coming back, you know, after you call cut. Sometimes it's hard when you summon all of this, these feelings to just kind of snap out. I've always been fine snapping out of it and, but I've never had to go this dark before. So I just kind of lost control of myself and I tore my diaphragm and popped my chest for about, so I don't know if I'd ever work with Darren again. It's funny cause it's amazing. There's some behind the scenes footage, which is coming out shortly as the film comes out, but like you'll see Jen doing the most intense stuff in this movie and I call cut and then her complete body language changes. She becomes Jen Lawrence again, goes, picks up her copy of Wuthering Heights, starts reading again and it's like, Jen, we need you again. She puts it down, making jokes and then action. So she's very, one of those actors that can turn off the light switch on and off right away. But I think we definitely went really, really intense. We went too far. Well, we always go a little too far sometimes and it's on those edges where you actually make ideas and images really stick. Do you feel like the whole sequence, without giving away the second half of the film, did you in your head think it's an allegory for fame? I didn't. For me, it looked like the creation of religion and it looked like false idols, which I guess that would be one way of looking at fame, which is false idolship. I mean, I see people react to me sometimes and I'm like, there are no words, just that's not correct. I'm just a person. I've heard that question a lot. It was actually interesting when we were in Venice, we got asked that question. They said, do you ever feel cannibalized by fame? And we all gave our answers and afterwards, everybody just stampeded us and our security had to rip us away. And it was like, okay, we gave our answer and they gave theirs. I didn't see it as a metaphor for fame. I saw it as more of a metaphor for how insatiable we all are. But it's a movie that can be read on a million different levels. It's interesting because it definitely wasn't an intention and a lot of people are picking up on that part of how humanity is portrayed in the film with worship and celebrity worship. I think, you know, when you have Jen Lawrence, Javier Bardem, Michelle Pfeiffer, Ed Harris, Donald Gleeson, Kristen Wiig, all people that have tremendous amount of fame, those ideas start to get mixed. But I think what's exciting about the movie is that it's open for interpretation. And even though I have a real intent with it that a lot of people are getting, there's all these other ideas that are coming out too. And that's great. So, you know, I wrote it in the eighth year of Obama. It's coming out in the first year of Trump. So that, you know, my intention was very different from where we are now.