TORREY

INTERVIEW PAGE 5

LISA: I think that was the time that we were all somebody different. I don't know what they told you to be…

TORREY: I don't even remember I was like, I just wanted to get out of there. I just didn't want to be around anybody. I was always stressed out…I was always tired. Trying to do what the director told me, what the producer told me, what Erik told me. I was just like, I'm ready to go. I'm about to crack here. We've got one more day of twelve-hour shooting. You know, we keep on doing the same stuff over and over again. We're in a room…the door's locked, the same old dialogue. And that's gets kind of - that gets kind of old. When you're in the same scene over and over again. You know, and it's like improv. There's only so much of that you can do. And it's like even when I was on a movie and I had to do something ten times over again, if it was scripted, at least I knew it was going somewhere. Whereas improv…

L: I think it was different from other improv - it was always in the same room, with the same twelve people…

T: Yeah, there's a different dynamic to it. I applaud them from trying something different. It was something I'd never ever seen done before.

L: And now you know why.

T: Yeah…'cause after the shoot, some of the guys would be, like - come on, Torrey, hang out. I didn't want to hang out with nobody. I mean, it wasn't against anybody. I just wanted to be by myself. And I think I've always been a person who enjoys their privacy. I'm not around a lot of people all the time. As you know, when everybody was huddled around, taking breaks, I'm off in a corner somewhere. I just didn't want to be around folks. You know, if I've been in a room with you for a couple of hours, I don't want to see you. Nothing against you. A part of me just wanted some time to myself to think and reflect and wonder - what in the world am I doing this for? And then it dawned on me - you're paying your dues. This is something I hope to be fortunate enough to do - to do more films. And even if God blesses me enough to do a major motion picture in LA or New York, I will still want to have the opportunity to - even if I'm making millions of dollars, that's not the issue, even if I'm well taken care of, if somebody comes to me with a good script and it's independent, it's low-budget, it's something I'd like to do, I would consider wanting to do it. And not getting paid for it. That's what you do as an actor. You shouldn't look into everything like - okay, what am I going to get out of this?

L: Well, I mean, you are getting a wealth of experience.

T: But, see, the main thing is - you want to tell a story. In some ways, I think that's what actors are - we're storytellers.

L: Well, I think that's the editor's job. That's what I had to tell myself during the shoot, is that it doesn't really matter what my vision of this is - I'm just going to do what they tell me and let them worry about it

T: Well, you got a point there, yeah - the editor does make it into a story, because they're going to make it, through the director's eyes, into what the audience should see. That is true. But, in the same sense, every character you play, whether in a film or a play, you are telling a story.

L: And you want it to have integrity. It was hard to tell if our characters were going to have integrity, given the shoot schedule. Like during the party scene, where everyone was happy, and when we were all somebody else. Part of me was like, how are they going to make this work? And part of me said - I said I'd do it, I'll just go in there and do it. You know, Erik has told me a little about what they're going to do with some of that, because I've been in contact with him. And I'm not sure they always knew what they were going to do…I think they toyed with us a little bit. But I don't think they did it maliciously. I think they just thought - okay, let's get a lot of footage and see what we can do with it. It was hard. There was half my brain going…this is nuts, why am I doing this?

T: Granted, with shooting in a hot room, there's times when you're going to get frustrated and there was times when I wanted to leave, you know because I was really getting frustrated because we were doing the same thing over and over and over and over and over…it wasn't going to change. And over the intercom, it said things like "you are going to die" Oh, great, we gotta create something else here. Like I said, when it's improv, you've gotta feed off people. And you're tired, you're frustrated, you're sweating. You're not going to be able to give your best performance sometimes. That's when the realism kicks in. I think when we was stuck in that particular room for that long amount of time - that's when the realness starts to appear. Some people chose to be quiet, and that might have been their character, to be quiet in that particular situation some people became outraged, some became madly in love and wanted to kiss or something, I don't know - it's just that that's how I picked up things.

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