Presents
Interview with
JESSICA HARPER
Conducted by Scott Michael Bosco on 9/13/00
SMB - SUSPIRIA has grown into a film of a measurable cult status.
JH - People come up to me on the street and say, “That is my favorite movie
of all time.”
SMB - It has a life of its own.
JH - Yes, it really does. It’s one of those movies that people really respond to.
People I’ve met, who don’t realize I’m in it, rent it, and say, “Oh my God, you’re in that movie!”, they go on to say, “That is a great, scary movie!” But it does have a life of its own and it’s a great cult movie. It’s got a lot of fans.
SMB - Back in 77’ I guess you
never would have thought that, I suppose.
JH - Well
... I guess I just didn’t think about
that much back then. It was so long ago
I don’t know what I thought. (Laughs)
But I knew he (Argento) was a
very, very, talented and popular director in Italy. But I didn’t know if it would work in the States. But HERE IT IS!
SMB - Actor Leigh McCloskey who
was in INFERNO, the sequel, noted
that working with Argento was
very unique - even the script - it
was a very different
experience from working with other directors.
JH - Yeah, it was very different, mostly because of the Italian Production system. It’s a very different way of shooting. Basically you’re shooting without sound.
SMB - Really?
JH - Oh, yeah. They don’t even bother to concern themselves with a good
soundtrack, because they know that they’ll be dubbing everything. Actually
in SUSPIRIA there were only a couple of scenes where they used live sound. All the rest of it was dubbed. It was really strange because I’d be doing a scene and there would be hammering in the background because they were building a set over somewhere. In the States of course that would never be tolerated. Over there, it was a very (with a laugh), different thing. But remember they know they’re going to be dubbing languages for all around the world. It’s a tradition I guess.
SMB - I
guess it’s a marketing thing. Knowing
especially that it will have to go to the States.
JH - Yes, and several of the actors didn’t speak English. So sometimes I’d be doing a scene where I’d be speaking English and the actor I’d be working with would be speaking in either Italian or German. Ultimately no one, meaning the audience, would know that because in the end everything was dubbed.
SMB - Did you speak any other
language other than English?
JH - I did, Italian.
SMB - So then you were able to communicate
with Dario.
JH - We
actually communicated mostly in English, but by the time I was done I was pretty
fluent in Italian. So with the crew I
was actually able to communicate pretty well.
SMB - So
then there were times when a single scene would be done with different actors
speaking different languages! That must
have made it difficult to play out a scene.
JH - Yeah,
it was ... unusual. I had to know
exactly what was going on in that scene, obviously, or else I’d be lost. It is an unusual way of working.
SMB - Because of this arrangement
was the script more descriptive or informative?
JH - I can’t remember that, but from what I do remember the film was pretty faithful to the script. But in terms of delivering a performance, the script was very explicit there.
SMB - The film isn’t supported by
its dialog, it’s all visual narrative ...
JH - Yes, that’s true.
SMB - ... so how was that conveyed, and did that make things difficult
or complicated for you as an
actress? Argento is an extremely visual
director.
JH - Well, it’s true that what’s important in that movie is going on visually. In fact
it’s also true
that’s what is important in the performances as well. I had act more through expressions, more than words.
SMB - So it was akin to a “silent
screen” type of acting.
JH - Yes,
it was related to that because, as you stated, the impact of that film is a visual
impact rather a verbal one.
SMB - Do you remember if the
violence was represented in the script?
JH - Well it speaks well for the film that when I actually saw it completed that
impact was greater - even though I was there when it was being made.
That’s because he (Argento) is so obviously cinematically gifted.
SMB - Previous to making the
film were you a fan of his, or the genre?
JH - No, not really. In fact, I don’t really like to be scared. That not an emotion
I
consider pleasurable. (Laughs)
SMB - Then you must have found
filming it unsettling?
JH - Yeah. Oh, there was one scene in particular that
was unsettling.
SMB - Was it the bat scene?
JH - The bat wasn’t so bad. I mean, I knew it was fake. But there was a scene where I had to run through a corridor and things were exploding, and glass was breaking. I really was scared! I mean, it was conceivable I was in a little bit of danger in the shooting of that scene. That situation, that possibility can happen a lot in making a film.
SMB - Where
you prepared as to what would happen prior to filming? Or is Dario a method director?
JH - Oh no, he explained to me everything that was going to happen. I was also very well protected against injury - but none the less, it was still a little scary. Another scene that concerned me involved me stabbing an old witch in the neck, with a knife. I was concerned because she, the actress, did happened to be a very old women. I think, in fact, she was actually a prostitute they had found. She was like a hundred years old or something...
(Both laugh.)
I don’t know, but she was very old and they made her up to make her look even older. I had to go at her with this collapsible knife at her neck - that made me
very uncomfortable. But I guess that helped the performance I guess.
SMB - Have you seen INFERNO, the sequel?
JH - No, I haven’t actually.
SMB - The actor of that film has “fond” memories of the destruction of
house in that film, just as you
do. He voiced the same concerns.
JH - Oh, my God. That’s interesting. Well, it was the scariest scene in the film, because I, conceivably could have gotten hurt. But there were lots of difficult scenes. Doing the scene with the bat wasn’t because it was mechanical. Then there was the scene with the worms ...
SMB - Oh, yes, the worms!
JH - You know when they filmed it they actually used rice. But for close-ups they
used the real
ones. I’ll never forget Dario Argento
walking up to me on the set and opening up this little paper bag and inside was
this mount of wriggling .... ugh, what
ever they were. I just about
vomited.
(Both laugh.)
It was really disgusting. But sustaining any kind of terror, or horror, on your
face, and keeping up the realism for any extended amount of time is really draining. But, that’s what you have to do.
SMB - Did Dario use any tactics to
take you off guard - to surprise you?
JH - Not while the camera was rolling.
SMB - Oh, but off camera?
JH - I
didn’t mean for that to sound like something happened. Dario is just an interesting person. So he would surprise you in simply the way
an interesting person does. He never
did anything during shooting that was weird.
SMB - With all the horror and mayhem going on in front of the cameras what positive memories do you have on the film?
JH - In terms of enjoyable, I’d have to say hanging out with Joan Bennett who
was such a real movie star in the tradition of the 40s. It was very interesting to hang out with her. It was like being “back then”, because of the way she behaved. I mean that in the best sense. She was a beautiful, dignified woman. At the time I was a smoker, and she was a constant smoker. So I’d pull out a cigarette and she’d say, “Don’t let them photograph you smoking my dear.”
JH - She said it in that sort of publicity conscious way that was prevalent from
the 40’s which today is just not sort of the way you think as an actress. Then of course she had some great stories about the old days in Hollywood.
SMB - How about Alida Valli?
JH - She
was very, very professional. Truthfully
I don’t think she was feeling very well at that time. She had some sort of blood sugar imbalance so she would, at times,
drink a tall glass of water filled with sugar - which I’m sure wasn’t the best
possible medicine for whatever it was she had.
But I enjoyed hanging with the crew.
They were a really great group of people.
SMB - The film takes place in
Germany - how much was filmed there?
JH - Well the bulk of it was filmed in Rome. We did exteriors in Germany.
SMB - How long were you in
Germany?
JH - Not
long. Maybe just a few weeks. But the whole shoot was about 4 months.
SMB - Was the exterior of the
school in Germany?
JH - Yes, I think so.
SMB - ... and the beginning at the
airport ...
JH - Yes and that incredibly beautiful interior of that swimming pool. That was in
Munich. That was very, very beautiful.
JH - I
think there was probably some street exteriors as well. Oh, and we also went into the forest - you,
when the cab drives by the forest. That
was just outside Munich.
SMB - How was in filming in
Germany?
JH - Well ... ah, it was a little unpleasant because the Germans are very anti-Italian. There really was a very noticeable prejudice against Italians. Of course everyone in the crew was Italian. The experience was much better in Italy. The conditions were of course different than doing a film out in the States, but not at all pleasant.
SMB - In the film you do a little ballet. Had you any experience with dancing?
JH - Yes.
SMB - So it the part was second nature you to.
JH - Well only the
dancing.
SMB - How was the project first
approached to you?
JH - Through my agent,
but I know Dario had seen me in Phantom of the
Paradise. He (Dario) sent my agent the script so it was sort of through the usual channels.
SMB - Did you have any
apprehensions doing a hard-core horror film at the time?
JH - Yeah, I did have some thought about it. But at that time, at that age
I also didn’t think about making really careful career decisions.
My agent thought it was a really good idea and I knew Dario was a really
good director so I knew he was bound to make something interesting.
I remember thinking it could turn out to be something really cool. You know, I was offered a part in Annie Hall at the same time.
SMB - But SUSPIRIA turned out to be more of an International role.
JH - Yeah, true, and
the part in Annie Hall wasn’t that big either.
SMB - Did the subject matter
of occult and black magic concern you?
JH - No, it didn’t concern me. In fact I thought it was kind of intriguing. Plus
the film doesn’t
go into it in any great depth. The
witchcraft element is more of a device
to provide an atmosphere. The movie
really does have an amazing overall atmosphere.
SMB - Did Dario do anything on
the set to aid you in creating a mood?
JH - He had played to
me music by that group ...
SMB - Goblin!
JH - Yes. Remember, I wasn’t informed with his work really so I couldn’t
put the pieces together in my mind. He’s the kind of director, like a lot of
the best directors, it’s all on the page, of the script, but it’s only a
skeleton compared to what is latter seen on screen.
JH - With Dario, the final product is made up more of what he shoots, not what’s on the page. It’s such a great leap forward from the page to the final product.
He so good at pulling together all this seemingly, unrelated elements and
making them work.
SMB - But that must make your
job as an actress that much more difficult?
JH - But with a good director it’s always that way. The best director
should enhance the script to the point to where it’s beyond your imagination. That’s what it’s all about - expressing cinematic skill. It should take the words way beyond what they are. Working with Woody Allen you read the script, it’s funny and charming and all that, and it stays that way even after you see it. But you get someone like Dario or Gordon Willis and it becomes something you’ve never imagined. They do something magical that is only in their minds. Brian Depalma is another one. It’s just the way they shoot, it lifts the material to another level. And that’s the way it should be.
COPYRIGHT 2000 Scott Michael Bosco
