The movie ‘Mother / Android’ came to Netflix Spain this Friday, January 7. It quickly sneaked into the Top 10 of the platform, so surely many of you have already had the opportunity to see it and perhaps you have been left with some questions about its outcome. For this reason, I have found it interesting to recover some statements that Chloë Grace Moretz has made about the end of ‘Mother / Android’ in an interview with Yahoo!.
Beware of SPOILERS from here.
As you will remember, her character as the protagonist of ‘Hidden passenger’ is forced to handing over your baby in the hope that this will lead to a better life away from the rebellion of the androids. Moretz remembers crying the first time she saw him because “I was crying at the first reading, rarely does a script move you so much“, further pointing out the following:
It was some of the toughest sequences I’ve done as an actress so far. We shot the movie chronologically, so that was the last thing we did of the movie. We had already shot the birth sequence and I had held the baby for the first time. The voiceover that I ended up doing was basically done like a letter, so that he could know exactly what was going on. So I could imagine those moments in my head and alternate them with the flashbacks.
That made the emotion flow even more, because he was reading while he was reading it and I was crying on screen. It was 15 degrees and it was snowing in the middle of Boston Harbor. It was against the elements, against all odds, and it was beautiful.
Moretz remembers that ‘Mother / Android’ is Inspired by the true story of writer / director Mattson Tomlin, to which “her parents gave up for adoption during the Romanian revolution“, pointing out that the message of the film is that”in the end there is hope that humanity can get ahead and that humanity and love will conquer all“For whom there is none, it is for Sam, since the character played by Algee smith dies out of shot, a decision on Tomlin’s part that Moretz explains like this:
I wanted to be very clear, and that last shot of me staring at the camera being completely gone in many ways represented everything we needed. Mattson was very specific how he wanted to shoot it and we didn’t do a lot of takes. We did most of the scenes in one. It was a 29-day shoot with very little money, so there wasn’t much room for error. The opening scene is also the final scene in front of the fireplace, and we wanted to play with that more, as a more cathartic experience.
When you go through such a heartbreaking experience and trauma, you don’t react immediately. She probably didn’t fully process what happened for a long time. So we wanted him to feel close and realistic instead of him, for lack of a better term, overacting the moment. We wanted to withdraw, allow it to breathe and not rehearse it. We didn’t rehearse almost anything, we wanted it to be as it arose.