A Conversation with Jordan Scott & Eric Bana (A SACRIFICE)

A Sacrifice was written and directed by Jordan Scott and stars Eric Bana. The film is in theaters now. It is the type of movie that should be supported in theaters as it is an original, adult driven story geared towards the theatrical experience. Scott is returning to the feature space for the first time since Cracks in 2009 as well as having made a few shorts such as The Muse. Despite a small filmography, she has solidified a distinctive and very slick style that is the heart of this film. Eric Bana has worked in the industry for over 25 years and has worked with so many great directors like Steven Spielberg, Ridley Scott, Ang Lee and Guy Ritchie. His most known role is as Bruce Banner in The Hulk however, I am personally fond of his work in Chopper. It was great to speak to these two in the following interviews edited for length and clarity.

Hammer To Nail: In 2009 you came out with the excellent Cracks. If I am not mistaken that is your only feature until now with A Sacrifice. The film is awesome but what was it that brought you back to the directing chair?

Jordan Scott: I never went away really. It just is very hard to get a film made. It has been a bit of a journey to get back to this place. It was not by choice haha.

HTN: When did you come in contact with the novel?

JS: The producer I work with, Mike Pruss, found this novel and we were both super excited by the subject matter and the idea of going to Tokyo. We loved the father daughter relationship set against this very threatening backdrop that really hovers over the novel.

HTN: Eric Bana and Sadie Sink are excellent in the film.  How did they become attached to the project and what was it like working with them?

JS: Eric, wonderfully, was onboard from the beginning when we were going to shoot in Japan. Sadie, I could not be luckier, she was incredible. Really a perfect pairing.

HTN: There are plenty of films about cults, this one I found to be a unique twist on the genre by making it more about a family dynamic than the actual cult itself, regardless, in preparation for this film did you watch previous films with cults, study cults? How was the look and feel of your cult conceived?

JS: I tried to stay away from other people’s films about cults in order to avoid being influenced. I obsessively watched every documentary and podcast I could on Cults. I read every article and book I could from all the top psychologists. It became a real obsession. It’s such a fascinating subject totally bottomless.

HTN: Julie Kirkwood shot this film and I think the slick/cold look of this film really creates an otherworldly feeling I could not shake even once the credits rolled. What were you two hoping to achieve and what was it like working with her?

JS: We wanted to make it feel timeless. We did not want the audience to know what decade it was other than the fact that there are smartphones. Hopefully there was a bit of a hint of the 70s in the look. We were trying to reflect the city and nail that atmosphere. Tonally we definitely wanted it to be sinister. We talked a lot about 70s spy films as an inspiration. It was a lot of fun creating that work with her.

HTN: I thought the shroom trip/first kiss sequence was handled really well. What was your thinking behind this moment and what were you going for with the sound design/effects?

JS: The idea that the world falls away at that moment because of the shrooms. It is just the two of them against the world. He is using this drug not only to solidify their relationship but to try and get her into the cult. The sound design was crucial in that section because it really made everything melt away. You could hear the crickets and it made it quite magical.

HTN: The drowning sequence with Jonas and Lara was one of my favorite moments in the film. The shot that you land on as the music cuts and we just see Jonas in between these long weeds. It was a shot that has stayed with me. Talk to me about the thinking behind this moment.

JS: That is one of my favorite scenes in the film. It was originally a longer sequence where they talk through why she is doing what she is doing. Jonas’ character knows this is a requirement for him in the organization. He still has his humanity somewhere. He is not a complete sociopath. This is one of his best friends and he genuinely thinks this is something that will heal the world.

HTN: The rave sequence was well executed. It felt like perfectly organized chaos. What was important to you at that moment and how did you find the location?

JS: If you are going to shoot a club sequence in Berlin you better get it right. It was important to make it feel authentic. It was a gasworks that was abandoned. It was fantastic. Just super dilapidated.

HTN: Just wondering generally about your screenwriting process, What is your screenwriting process like. Do you treat it like a 9-5?

JS: It’s a bit of both. I definitely treat it like a 9-5 or I would never get it done. I need structure or I will procrastinate. I am a morning person so that’s when I do a lot of writing. Sometimes when I am doing random things an Idea will come to me. If I have a moment I will drop everything and write it down.

HTN: When was the first draft of this script completed?

JS: Early 2020 was the first draft and then all hell broke loose. There was a lot of re-writing after that.

HTN: What was it like working with your father on this project? That must be such an amazing thing to be able to do!!

JS: I am very lucky to be able to ask him advice! He read all of the main drafts and got his red pen out and crossed a lot out. You are going to get the best advice asking him so it is great to do anything with him.

HTN: What films specifically did you watch in prep?

 JS: The Conversation, The American Friend, Tinker Tailor Soldier Spy. That was the world we were trying to get into.

—-

Below, Jack speaks with Eric Bana…..

Hammer To Nail: How did this project come your way and what was it about this script and character that drew you in!

Eric Bana: I met Jordan many years ago when I worked with her dad on Black Hawk Down. She sent me the script and I loved it right away. We hopped on a zoom and I told her I would love to play the lead role. I really loved the world and the writing. I was intrigued by it. It is the kind of film I love to watch. That is always the first test for me. Do I want to see this film? The answer was yes and we were on our way.

HTN: You mentioned you worked with Ridley and now you are working with his daughter Jordan, What differences/similarities did you see in their directing styles? Obviously two very different projects?

 EB: Jordan was talking about today that the thing that she loves about directing is that it combines so many crafts. It requires so much work and being aware of all of the crafts. She knows exactly what she wants and knows how to get it out of everyone. Ridley has that same quality.

HTN: What was it like working with Sadie Sink on this project? You two had excellent chemistry.

EB: It was really effortless. She was so delightful and had so much energy. Sadie is actually the same age as my daughter, that dynamic made it really easy for me. Jordan wrote great scenes for us to do. Our very first scene together was almost the end of the film. It was quite the trust exercise for two actors to start on. She was a lot of fun.

HTN: At around the 45 minute mark you and Sadie have this big fight. Your performance in this moment was excellent and it all felt very real. Talk about your thinking behind that fight.

EB: You can express love between people in many ways. A domestic, passionate argument can be an indication of love and the audience recognizes that as real. Relationships are not always so lovey dovey. He is trying to care for his daughter. He is not the greatest dad, but he’s not the worst dad either. I just loved the realism of that.

HTN: Are you an actor who feels like they need rehearsal time with the cast and crew? In that case what was the rehearsal process like for this film?

EB: It is always great when you can spend time talking about the film. We did a lot of that on this one. Not so much standing around rehearsing but really talking through each of the scenes. We did some stuff towards the end of the film for physicality. Generally it is pretty helpful but you do not want to overdo it. You never know what is going to happen on the day, what the location brings, how much time you have, so it’s nice not to be so locked into a decision.

HTN: You and Sylvia Hoeks have a very interesting dynamic in the film. It’s the type of relationship you do not see very often depicted in cinema. What was it like working with her?

EB: I was so lucky to get to work with her. She is just so intelligent and fearless as an actor. There is a real softness and vulnerability to her but also this toughness that very few actors have. She was just a delight to work with. Amazing actor.

HTN: At the hour and 12 minute mark is this moment when he realizes his daughter is in serious danger. This scene has been done in plenty of films before, but your performance here stands out as grounded in reality. What were you going for?

EB: It was tough. We really had to think through it physically. It is hard to pace yourself. You need to maintain that rage without it becoming too chaotic as we reveal all of these facts. That was probably the hardest part of the film To be honest. I hope it worked out!

HTN: It came out great! When speaking to a veteran actor like yourself I am wondering what’s a handful of films or performances you think aspiring actors should watch?

EB: I love late 70s cinema. The great directors make the great performances. I love Robert Duvall. So many of his performances are just so believable. Charlize Theron is just amazing. Her body of work is just incredible and very diverse. She is a great example of an actor doing different things.

HTN: When I spoke to Jordan she talked about 70s spy films as an inspiration, did you watch any films in preparation for this part?

EB: There was nothing specific. I was aware that the film was going to have that look. Shooting in Berlin really helped with that look and we certainly discussed it but I did not watch any films for my performance.

HTN: This was shot digitally. I am always curious how actors feel, you have worked in the industry a long time so you have worked with both film and digital. How does it impact you?

EB: It is a great question because there have been moments where it feels less special shooting digitally. I feel very lucky to have been able to work with 35mm extensively. I think about how things felt different on sets. There was more respect for the craft of filmmaking when we shot on film. There is a sense that things can be fixed in post when you shoot digitally. Really though, it all comes down to the crew. We had an amazing German crew on this one and it felt like we were shooting on film. There was a highly respectful tone on the set. Very quiet.

HTN: The theatrical experience is something that is always being talked about, this film feels like something that is really meant to be seen in a theater. At this stage in your career when you are picking roles, is that something you are strongly considering?

EB: Definitely that is a long term focus. In the independent space it’s especially difficult. So it feels great to be a part of an original story that was able to find its way to the big screen. It gets harder and harder but it is important that we do not give up. People will tell me that this kind of film is hard to make or they don’t make movies like that anymore, but here I am, we did another one of them. We got a great theatrical release for this one and I am thrilled about that for Jordan.

– Jack Schenker (@YUNGOCUPOTIS)