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Jan 13 17 2:58 PM
Jan 13 17 4:24 PM
Jan 14 17 7:54 AM
Whether he’s a Marvel hero or a corrupt cop, the Scottish star likes to mix up his roles – but in the new M Night Shyamalan film, he’s got 23 in one
James McAvoy is extolling the virtues of insobriety. He was at the San Diego Comic-Con in July 2015 doing early promotion for X-Men: Apocalypse, his third round as mutant godfather Professor X, and it unexpectedly turned into a wild celebration. “There was a big party, you couldn’t turn around without bumping into somebody off the telly. My mate Jesse was playing miniature golf in the middle of it. We were getting particularly drunk, and then I saw M Night Shyamalan.” They hadn’t met before. “He goes: ‘You’re James McAvoy!’ And I said: ‘You’re M Night Shyamalan! What do I call you?’ I was very drunk.”
The point, says McAvoy, animatedly, is that his agent had been on at him for ages to go to LA to shmooze the scene. He could never be bothered to do it. But there he was meeting Shyamalan, which led to him being cast in the director’s new film, Split. “The minute I fuckin’ set foot in California I get a job that is one of the most interesting roles I’ve ever played,” he says, amused at his own good fortune. “The moral of the story is: when in California, get really hammered.”
“Interesting” is downplaying it somewhat. In Shyamalan’s psychological horror, ostensibly he’s Kevin. But Kevin has dissociative identity disorder (DID) and a total of 23 alternate personalities – also known as alters – who often struggle to co-exist harmoniously. It starts with him rather brutally abducting three young women and locking them in a basement but, this being twist-lover Shyamalan, there’s more to Kevin’s condition than meets the eye. Over the course of the film we meet nine of those 23, among them fashion designer Barry, his grounded dominant identity who has previously kept some of the more troublesome alters, such as abductor Dennis, at bay; Hedwig, a sensitive nine-year-old; and cross-dressing Patricia, chilling in her calculated calm.
It’s an agitated, creepy horror and McAvoy revels in it, an unnerving, threatening presence even as the supposedly more benign characters. When he started reading the script, not knowing of the psychological complexity to come, he was concerned it might be the sort of nasty genre exercise we’ve seen much of before. “That worried me,” he says, “but then as soon as Kevin came in the room as Patricia, I was like: ‘Ah, right! I’m gonna have fun with this.’ It’s not just sensational, but something that could be hopefully intriguing and compelling in a way that isn’t just edge-of-your-seat nerves.” Not to mention, for an actor’s ego is a film like this a dream gig? “Yeah, I guess so,” he laughs. “It is for me! There was the opportunity to flex many muscles and employ all the dexterity you can muster.”
McAvoy is in good spirits today, powered by coffee, having motorbiked to our interview from his home in north London. He has lived there for years with his wife Anne-Marie Duff, whom he met on council-estate comedy Shameless, the TV show that made both their names (although the pair are getting divorced, which is currently making him tabloid fodder). His sweary Scottish charm from those early days still shines through, and when it comes to work, he has apparently very little filter. He is open, in particular, about Shyamalan, who has never managed to claw back the cred of early successes The Sixth Sense and Unbreakable after big-budget sci-bombs The Last Airbender and After Earth. Could Split be the film to turn Shyamalan’s fortunes around?
“What he says about himself is: what makes it hard for him is that he’s committed to telling original stories,” says McAvoy, on why the director’s recent films haven’t resonated. “The Last Airbender wasn’t an original story, and After Earth wasn’t from him. But other than that, everything he’s done was an original story that he thought up. He sweats blood over everything.”The director, says McAvoy, told him he thought many established actors would have turned down the Split script. It was, Shyamalan reasoned, a risk, doing multiple roles in one, with every chance of him only being able to nail some of them. But McAvoy’s approach to parts sounds more maverick. “Even though I’m established, even though I’ve got X-Men behind me and it’s helped me buy my house, I always feels like I need to take a challenge,” he says. “Sometimes you throw yourself in at the deep end and it just doesn’t work, and it’s a nightmare. But the great thing about being an actor is that even if it’s terrible it’s over in two or three months and you move on to the next thing. So what’s the harm in throwing yourself in there? It’s just your reputation.”He certainly threw himself in this time: Joaquin Phoenix dropped out of the role at the 11th hour, McAvoy got the gig – thanks to that inebriated Comic-Con encounter – and in just a month he was on set. He did what research he could do in the time he had, finding most of what he needed on YouTube. “YouTube’s an amazing tool because so many people who live with DID are into keeping diaries,” he says, “because they can talk to each other and fully express their presence within the world. It’s an important thing for each alter, I think, to say: ‘I’m here, even if I only get to come out now and again. Even if I’m not the dominant alter, this is my time and I own it, and I’m projecting into the world.’ That was really helpful.”
“From my mid-20s up until my early 30s people were asking me to play middle-of-the-road characters a lot,” he says, explaining that in those roles he had to “steady the ship” while everyone around him had more fun. The turning point was when he was offered a film adapted from a book he loved (he doesn’t say which), but was dismayed to see how the character in the script, so intense and unpredictable in the book, had been diluted into a doe-eyed lover. When he questioned the director about it, he was told to let the audience imprint upon him. “I was like, ‘Dude, I don’t wanna just be a fuckin’ canvas for the audience. So that was a big moment.” He turned it down, deciding from then on to find things that truly excited him.This led to a triumvirate of parts in 2013 cementing his intention. First, a hypnotised art auctioneer in Danny Boyle’s wired thriller Trance; then, on stage in London, a very physical take on Macbeth, which found him repeatedly suffering cuts and bruises. But Jon S Baird’s unapologetic adaptation of Irvine Welsh’s Filth made the rebirth complete: McAvoy’s dirty cop directs bestiality porn, blackmails a 15-year-old schoolgirl into giving him a @$@*!@@, and has phone sex with a colleague’s partner while pretending to be Frank Sidebottom and watching footage of his wife and kid while crying. He has called that scene one of his proudest moments on celluloid.
While writing Split he met with psychiatrists to inform the scenes involving Dr Fletcher, who tries to help Kevin keep the Beast at bay. In his director’s notes, he explains: “I’m taking something you believe and pushing it into the fantastic realm. I wondered what would happen if, in dissociative identity disorder, each individual personality believes they are who they are, 100 per cent. If one personality believes they have diabetes or high cholesterol, can their body chemically change to that belief system?”
Split also succeeds as a tonal callback to his early work. After the box-office success of his last low-budget horror, 2015’s The Visit, it could well add further grist to his comeback mill. As for McAvoy, after all of those years playing “posh English dudes”, it proves he can be a twisted, more leftfield leading man. He’s especially enjoying the divisive, even transgressive potential of these new roles.
“So what if people get a bit shocked by something edgy,” he says defiantly. “There’s just so much pacification in cinema, and I’ve been involved in it at times. I’ve done films that make people fall asleep. So I’m quite keen to push the envelope.” Even if it means playing 23 people in one. https://www.theguardian.com/film/2017/jan/14/james-mcavoy-m-night-shyamalan-horror-film-split?CMP=twt_gu
Jan 15 17 12:58 PM
Jan 15 17 1:34 PM
james mcavoy came as a surprise guest and guess who died after this happened
Jan 15 17 4:09 PM
Jan 15 17 11:08 PM
WATCH: #JamesMcAvoy talks about working with @MNightShyamalan on his new film #Split >>> bit.ly/2ip6yW6 #etalk
Jan 15 17 11:32 PM
Jan 15 17 11:52 PM
Surprised a crowd in Hamburg Germany as they were about to watch a sneak of #Split. So much fun! Love Germany.
Jan 16 17 12:08 AM
In Snowy Berlin. Check out my ride! Wow! @Audi going all out. On my way to meet the fans at the screening. #Split
This is what happened when I took a picture at the end of the #Split screening in Berlin. Thank you Germany!
Jan 16 17 10:54 AM
Jan 16 17 11:08 AM
Jan 16 17 1:44 PM
Jan 16 17 3:16 PM
Jan 16 17 3:56 PM
Anyone who thinks actors are constantly putting themselves in danger
of developing multiple personalities from the varied roles they play
should be interested in seeing James McAvoy—Charles Xavier in the last
three X-Men movies—put that theory to the test with his many roles in M. Night Shyamalan’s Split.
McAvoy plays Kevin, a man suffering from Dissociative Identity
Disorder (DID) with his 23 distinct personalities, when he kidnaps three
from a party—Casey (Anya Taylor-Joy), Claire (Haley Lu Richardson), and
Marcia (Jessica Sula)—and locks them up in his basement. They only find
out about Dennis’ mental illness from the fact that he keeps switching
personas, and we learn from his sessions with psychiatrist Doctor
Fletcher (Betty Buckley) that out of Kevin’s 23 distinct personas, two
of the more unstable ones, Dennis and Patricia, are responsible for the
Den of Geek sat down with McAvoy in New York to talk about his roles in Split. (Note: There are MINOR SPOILERS in this piece as we talk about some of the specific personalities in a vague way.)
Den of Geek: This is a great role, great performance.
I don't know if you still have to ever do auditions at this point, but
this is one of those things where if you did, you can just send them the
movie and say, “Look, I play a nine-year-old boy and a woman. I can do
anything. I'm not going to audition for you.” How did Night approach you
about this? What did he tell you about the role or movie?
James McAvoy: We met at a party in San Diego, at Comic-Con in 2015. He was there, I think, selling The Visit. I was there selling X-Men.
All the X-Men guys were there, and we were all having fun. We were all
really drunk and Night just sees me with a bald head, and he's like,
“Yo, you're James McAvoy but you've got a bald head.” “Yeah, I totally
do.” He's like, “Come over here and let's have a chat.”
got to chatting, and he says at that minute, you start to think wow, he
looks really different, he seems really different from what I thought
he'd be like, and he just thought I might be good for the part. So he
calls up and says, “I've got this script. Have a read. Keep an open mind
and stick with it if you get confused or you think it's a bit simple.
Just stick with it.” Alright. So I started reading it, and immediately
I'm like, “What? Is it going to be just a movie where a guy abducts
three girls and tortures them? Because I don't think I want to be in
that movie.” Then of course it changes, switches, and it presents
something else, and then it switches again and presents something else,
then it switches again. I just thought it was a really, really good bit
Because Night has always been very secretive about his
scripts. I'm surprised he gave you the full script. He didn't tell you
anything before he gave it to you?
I think if you're going to get an actor onboard, of course
we got to be able to read the script. Certainly if you're going to get
an actor doing that role, you've got to get a full script. I don't think
you could make much sense of it in pieces. I don't think I would have
probably have accepted it unless I read the whole thing. My agents
didn't get to read it. And I accepted it without them reading. They were
laughing. He's just like, “Nope, they're not getting it.” Okay.
What were some of the things that you knew you'd have to
prepare differently from other roles you've done? Was there anything
specific besides figuring out the different personalities?
The thing that was different was the amount of work I had to do. I
got the role quite late in the day, so I didn't have a lot of time to
prepare, but I had to do nine times the amount of preparation in really
less than half the time that I would usually get to prepare one
character. So that was one thing. The other thing that was interesting
is that, apart from Kevin, all the other personalities that lived within
the same body, they had a different kind of genesis than you or I. You
know, you or I are born because our parents did the do,
and they're born out of a necessity and to perform a pretty specific
function within the larger group. That's because they each personify a
certain quality or qualities that Kevin has or had.
Dennis is the only one that really talks about it. Dennis actually
articulates why he came into being, why he was born, when he talks about
having to be very neat and tidy, otherwise his mother would physically
abuse him, Kevin, so Dennis was born because Dennis was capable of being that neat and tidy person, keeping the mother at bay.
I thought that's interesting. That must apply through all of them. So
I had to effect the way into each character was finding out, why they
were necessary, what they did, what job did they perform in the larger
community. What part or what facet of Kevin's original character were
they based on primarily. And of course
they grow and they swell, and they become much more well-rounded than
just that. They're not just one thing. But it is their core. It's their
prime driver. You know?
Most people have different personality traits and
characteristics and emotions, which isn’t what Kevin is, because all of
his personality break into separate places. Did you do some reading about that disorder?
Yeah. Totally. Unfortunately a lot of the reading
that I could find was argumentative. Really arguing with itself at
times about whether or not it exists. Whether it's fake, whether it's
just people attention=seeking or whether it's delusional people or what.
What I found really helpful was coming straight from the horse's mouth.
Not looking at it medically but looking at it just from a first-person
point-of-view. In terms of people who live with the ID.
So reading people's diaries was fascinating and really useful. Just
reading the little things of one alter communicating with another alter
or through the eyes saying please can we stop spending a lot of money on
Lego. I mean, we don't actually have enough money for !+#@$%% food. and
there's like 15 boxes of Lego there on Monday morning because the youngest alter is in charge over the weekend. You know?
Then the extension of that was 11 in the morning you diarize on the
internet—you video diary, you video blog. It's sort of a tailor-made
platform for people with DID, because you get to have all your
personalities talking on-camera. All of them getting to express
themselves and project themselves into the world and say, “I'm here, and
these are my hopes and fears and dreams, and what I want to accomplish
with my life. And by the way, she's here as well. Let me introduce you
two.” And they all have a moment to feel empowered and put themselves
If you looked at that computer with all the videos on the desktop, did you tape something for all 23 of his personalities?
What was it like when you’re shooting scenes
with the girls? You’re mainly playing Barry in your sessions with Betty
Buckley’s Dr. Fletcher, but with the girls, you’re switching
personalities, so how was that on-set? Would you literally go off-set,
put a dress on and come back?
Sometimes, yeah. Sometimes. I think it was pretty relaxed on-set, to
be honest with you. I needed it to be relaxed on-set. I like to save my
acting for the camera
and save all my blood, sweat, and tears for the camera, and I don't
need to be like that off-camera to be able to turn it on at a moment's
notice. I hope that was helpful to the girls. I hope. Because we had a
lot of fun.
There were only a couple
of times where Anya and Jess actually needed me not doing that in
between takes. They actually wanted to do the opposite. They wanted me
to be pretty rough with them in-between takes and just scare them a
little bit. At one point, it was just a bit weird doing all that, but it
was for them and they needed it, and I was happy to oblige. Yeah,
I wondered if there were any times they didn’t know what you would be doing. Some of Anya's reactions seem like realistic
surprises. I wasn’t sure if maybe you and Night knew what you were
going to do and maybe there were kept out of it until you opened the
I can’t remember. I'm not sure. I don’t think so. There might have been a couple
of moments, just a couple of moments. The only time that I ever really,
truly surprised them was when they asked me to help them out off-camera
and then I'd do !$!$ to them.
Right. Just to stay in that head rather than switching out.
Just to make them terrified for the scene that they had to do.
What about working with Betty? I wasn’t too familiar with her
work but she’s a veteran stage actress, in the Broadway Hall of Fame,
no less. What were your scenes with her like? They seem very theatrical.
Yeah, yeah. It's just very pure. Just two actors acting. Not really
doing anything special with the camera. Not really doing anything
special with the music. Not really doing anything special other than
watching two actors act. If that's theatrical, I always think the word
theatrical sounds flamboyant. Those scenes aren’t flamboyant to me.
They're very, for me, just pure; it’s just very raw and very stripped
I think of theatrical of scenes with just two or more people talking.
There’s no crashes, there's no bangs, the dialogue lasts more than one page.
Were you able to shoot those scenes with her in order at least?
I think we were able to shoot everything in order with her. My first
day was doing one of the big, 13-minute long scenes with her. Which was
jumping into the deep end, but it was fun. It was real fun. I love
working with her. She's like me—she’s got a ton of more theater
experience, but we're both fairly experienced in stage and it was nice
to get that opportunity to take a run at a big long scene and not have
to break it up all the time. It was great.
The audience definitely seems to like Barry, but they absolutely love Hedwig. I’m not sure if you’ve seen the movie
with an audience yet, but they really love that persona. What do you
tap into to play Hedwig? Is nine-year-old James in there somewhere?
I think it was just that thing of, Hedwig is an interesting character.
His reason for being born was to take the place of Kevin when he was
being abused I think. So Hedwig has an innocence that is almost fake.
That's why he's the only one that's not been able to grow up, because
his prime mover, his prime characteristic is youthful innocence. But
he's been physically abused repeatedly for his whole life, therefore
he’s got this malevolent streak to him as well, so I really enjoyed
playing that kind of goofy, funny, innocent thing that had a malevolent,
kind of nasty streak, too.
Also, ‘cause he can’t grow old, because he is in a state of arrested development,
he’s desperate to be taken seriously and be older than he is. Which I
think is always a really funny thing with kids, when kids try to act
older than they are. However, with him I think it’s really sad. From my
point-of-view, not necessarily from an audience’s point-of-view, but I
know everything that's going on inside him and it was really sad acting
him at times, because he's a little boy that's not allowed to grow up.
What’s Night like as a director? I know he's very specific and he storyboards a lot.
Incredibly specific. They all storyboard a lot. They don’t
necessarily stick to it. He sticks to it. He’s meticulous with it. His
vision, as put on paper,
his story, as put on paper, is exactly what he wants to make. He has a
vision in his head and he’s got the chops and he’s got the technical
ability, and he’s got the artistic vision to be able to actually realize
all of that as it is in his head.
Rather than, “Alright, I've storyboarded the whole thing, I know how
it is in my head,” and you get there on-set in the day, and it's like,
“I don't know what we should do, how should we shoot this?” And you
still end up cobbling together a great movie
by committee, everybody chipping in, all that kind of stuff, and the
director's really pleased with what they got. It sort of doesn’t
necessarily reflect what was on the script or what the initial vision
was, or certainly the storyboards.
But Night is the exact opposite. It's sort of like getting a model kit, and he’s putting together the pieces every day. You know?
I don't know how much you can say about the physical
transformation you go through at the end, but was that done with makeup
The veins? Some of the veins are real. They augmented the veins
massively. No, there’s one bit where I’m pulling the bars apart and I’ve
got the camera behind me and my muscles appear popped up. Like, they’re
just swollen and popped up. That's !+#@$%% me, but you can’t see my
face, so people will think it's a !+#@$%% stand-in or !+#@$%% bullshit.
That was me, because I'd been working like a !##@*!%#%@%% for this part
in the short time that I had.
He just wanted me to be a bit more physically intimidating for the
beast, but also for Dennis as well. He just wanted me spread a little
bit. I didn't need to be necessarily muscular, I could have been just
weight as well, but I felt I didn’t want to do it just putting weight
on; I wanted to do it putting muscle on. So I went off and power
lifted for a month before I got out there. Which really isn’t a lot of
time to put on any weight. And ate like a !+#@$%% !$!$, I mean like six
thousand, seven thousand calories a day.
Wow. Is that the most physical thing you’ve ever done for a role?
No, the most physical thing I did was probably this last summer
going, where I continued power lifting, up ‘till April or May, did a
film with Wim Wenders, shot the first six weeks, still power lifting,
eating a ton, and then I had four weeks to sort of lose a drastic amount
of weight. That was probably the most extreme thing I’ve ever done was
losing that weight that quickly. Was kind of tough. Don’t get me wrong—I
wasn’t to the point of being emaciated—but trying to lose that weight
that quickly was crazy, crazy, crazy.
What was the experience like working with Wenders?
Fantastic. I don't know what he's like all the other times, but he
was amazing to work with this time. He’s a very kind, generous man. Sort
of pains to tell me that he doesn’t really direct very much in terms of
what the actors and stuff like. He just let’s you do your own thing, but I actually found him forthcoming and very, very informative.
Jan 16 17 4:05 PM
Jan 16 17 4:32 PM
Split , the new film M. Night Shyamalan , was presented in Milan by the director and the two leading actors, James McAvoy and Anya Taylor-Joy , a talented young actress who many will remember forThe Witch.
At the center of this fascinating psychological thriller - which are not lacking surprising developments - there's Kevin ( McAvoy ), a man who suffers from dissociative identity disorder, but in a very extreme form: his alter ego are in fact as many as 23, and the 24th could soon emerge from the shadows. Casey ( Taylor-Joy ) is closed and marginalized teenager who was kidnapped by Dennis , one of the above alter ego, along with two classmates: locked in a room, she is forced to attend the mutations of his jailer, who takes different personalities depending on the situation. The girl must address the three dominant alter ego Kevin (ie Dennis , Patricia and little Hedwig ) in hopes of finding a way out and understand why she was kidnapped by him ...
Split - as often happens in the films of M. Night Shyamalan - is often confined in closed spaces and claustrophobic, but this is not accidental:"I'm interested in the limitations offered by closed spaces,"said the director, adding that these spatial constraints are useful to limit the consciousness of the characters, as when a character believed to be alone (in a house or in a single room) but not at all. In this regard, the film Shyamalan are carefully structured to generate suspense, and the filmmaker has made it clear that his classic "twists" are not the foundation of his film, but rather an integrated tool in the structure of the film and the narrative: the information on a particular plot or a character are revealed gradually, and"the twist is the time when the information becomes real", one in which is made explicit; "It is increasingly providing information to the final summit". Moreover, Shyamalan has confessed that his sources of inspiration for Split were not the most obvious (likeIdentityJames Mangold), but definitely the most unexpected movie: first Robert Altman for the use of the zoom, in addition to various film movie independent international asCachéHaneke andDogtoothLanthimos. The director also mentioned his admiration forthe great beautyof Sorrentino, who showed some fans - donating the money to charity - received as a prize a chance to see some movies with him in his film. But what is his film believed to have been mostly ignored by the public? " The Lady in the Water is the least seen, a bizarre and peculiar film. It is a psychological thriller, but a children's fantasy. I consider it very personal, difficult to sell ".
Split has obviously required a great commitment on the part of James McAvoy , dealing with the characterization of many different personalities:"Every job can be a challenge, but [in this case] certainly I had to worry about the fact that all [alter ego ] they seemed different, with different physical gestures and postures ". The tests have been instrumental in developing the characters, giving each one its own personality, both from a psychological point of view of both the physical plane. The Scottish actor already has extensive experience in high-and low-budget productions, but revealed to have no preferences:"I like everything, because the big budget does not necessarily mean that there are fewer ideas, and small budget does not imply that there are fewer ambitions. I do not see much difference. I was in fantastic high-budget films, and bad low-budget film, it depends on the director, the script and everything else ". As for his sources of inspiration, McAvoy has confessed to not having a great film culture, so the inspiration came directly from history, not from other movies or other performances. Asked if there are some alter ego cut during assembly, the actor said no: he was limited to follow the script, which was full as it was.
For its part, Anya Taylor-Joy is deemed "very lucky" for developments of his fledgling career, but Shyamalan wanted to clarify that it is not just luck: the director praised the actress 'ability to ' open doors emotional " , as they do those rookies that - contrary to some great actors already experts - manage to get us into them. Taylor-Joy also stated that sees a lot of similarities between Robert Eggers (the director of The Witch ) and Shyamalan , although the latter is "very specific" , while Eggers - his first film - he still needed to find himself, like her. "We are great friends, but sometimes we became hysterical" , while in Split "I felt very safe" . The commitment of the young actress, however, was intense: "When I did something, I always felt it was aligned with his vision or if I had to do another take ' .
Shyamalan has spent words of praise also for the costume designer Paco Delgado , who "has introduced a fantastic taste, but it was a real challenge because we did not want [Kevin] appeared caricaturist" . The greatest difficulty was represented by physical McAvoy , rather large and therefore difficult to adapt to people like Hedwig and Patricia . The Scottish actor said that the costume was returned from The Danish Girl , so he had experience in dress a man in women's clothes. If Dennis had to be forced, imprisoned in his clothes, with Patricia was necessary to communicate the impression that he was angry because forced to live in the body of a man.
The director also praised the producer Jason Blum , a true champion who "fights to tell unusual stories" , since "there are not many champions of the original film in Hollywood" . It was a valuable adviser for him, since The Visit , which he liked very much: together, the two had gone at Universal and they had brought the film to the study, beginning a fruitful collaboration. Both are interested in the original productions, and is also why Shyamalan has never made a real sequel: "Writing a sequel is difficult for me, because the joy is in the discovery of writing" . Of course, this freedom on the big screen is more and more limited, and in fact the filmmaker has already approached the television with Wayward Pines : "The narrative based on characters has moved on television thanks to mass production, and the quality is greatly increased" . If in Hollywood cinema has the skills in marketing, on television we prefer the "tone", the creative aspect. Shyamalan said that television has enabled him to work with actors, directors and fabulous writers, such as Duffer brothers, who then made Stranger Things . "The look with which I have problems is the fact that I'm a control freak: I can do everything in the movies, in the TV series but no" . This need to delegate some of the work to others, however, will not prevent him to return to the small screen, where she hopes to make other experiences.
Returning to Split , the interest of the director for the theme of multiple personality definitely comes from the case of Billy Milligan (abductor and rapist of three girls was acquitted by reason of insanity because of affection dissociative identity disorder), but also by its studies in psychology in college: his future wife was in fact a student of psychology, and Shyamalan was following his own university courses to woo her! Moreover, the theme of the grand seemed, because "No one had done the definitive film about multiple personalities" ; and he, as happened in the past with ghosts or other topics of great popularity, has tried to do just that.
Jan 16 17 4:34 PM
Jan 18 17 5:59 AM
Jan 18 17 8:26 AM
In case you haven’t heard about it, Split is the latest from
M. Night Shyamalan. The creative mind behind The Sixth Sense,
Unbreakable and Signs hasn’t had a major hit in a while but with the
charismatic, talented actor James McAvoy fronting his latest, could this
all be about to change?
We sent Ciara King over to sit down with the director and star of
Split. Their new movie sees a young man, named Kevin, abduct three girls
and hold them in a room. Kevin exhibits 23 alternate personalities, and
in order to escape, his captives must convince one of the personalities
within him to let them go.
M. Night Shyamalan talked about the scariness of Split, as well as
his thinking behind the different names of Kevin’s distinct
personalities. He also tells us the reason for there being 23
personalities, and why Kanye West was the music of choice for Kevin’s
nine-year old personality. Plus Ciara and he share their experiences
with horror classic The Silence of the Lambs.
Meanwhile, Ciara tells James McAvoy of a spooky prediction while he
shares whether he found the part a daunting endeavour and reveals his
favourite of the personalities.
Check them out here:
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