SAG Awards: Naomi Watts Braved Snakes and High Water for 'The Impossible'
This story first appeared in the Feb. 1 issue of The Hollywood Reporter magazine.
"Sometimes a movie set fools you into believing you’re safe,” says Naomi Watts. But she felt anything but safe playing Maria Belon during the 2011 shoot of The Impossible, Juan Antonio Bayona’s epic about a vacationing family in Thailand swept away by the 2004 tsunami, which claimed more than 230,000 lives. Watts’ career-capstone performance in a role inspired by tsunami survivor Belon (who has story credit) has gotten Oscar, Golden Globe, SAG and Critics’ Choice nominations for best actress.
Watts certainly earned those honors for the film’s grueling 25-week shoot in Thailand and Spain. “There was talk about how the film was cursed,” says Ewan McGregor, who plays Watts’ husband, a man celebrating Christmas with his wife and children -- one of whom is played by newcomer Tom Holland, 16, whose breakout performance earned a Critics’ Choice nomination -- until the big wave strikes with an astounding realism even more ambitious than the tsunami scene in Clint Eastwood’s 2010 Hereafter. During the film’s preproduction in 2010 and 2011, Thailand’s first near-civil war erupted, shutting down the airport and trapping crewmembers.
More destructive to the film was the nearly unprecedented series of storms that stretched the monsoon season from October to December, making it nearly impossible to shoot scenes calling for constant sunshine. Also sometimes stormy was the creative process of director Bayona and screenwriter Sergio G. Sanchez, whose sole previous feature was their $4 million horror film The Orphanage, Spain’s 2008 foreign-language Oscar entry. Each week they wrestled with the challenges of their $40 million tsunami film, with Sanchez nearly quitting several times -- one nigh-deal-breaker was Sanchez’s desire to include a poignant but not plot-advancing scene where Geraldine Chaplin’s character explains the meaning of starlight to Holland’s character.
“Everything on set was discussed in the ‘Spanish manner,’ ” says McGregor -- meaning there might have been a bit of shouting -- and then everybody felt the need to blow off steam dancing until the wee hours at a beachfront bar called Memories, named by its owner in honor of seven family members he lost to the tsunami. Everyone felt the pressure of respecting those touched by the tragedy, but no one felt more pressure than Watts, whose ordeal was both physical and psychological. In Thailand, Bayona and production designer Eugenio Caballero re-created a tsunami-ravaged flood zone the size of a dozen football fields, which eventually was invaded by real reptiles whose bites can kill. “I didn’t know they’d hired ‘snake frighteners’ to shoo them away,” says Watts. “They had these baskets for shoes outside our hotel room, and one morning a snake was nicely coiled up in my shoe. The housekeeper screamed, ‘That’s poisonous! Get inside!’ and locked the door -- which wouldn’t have helped.”
Watts had a scarier moment in Alicante, Spain, where effects wizards Pau Costa and Felix Berges re-created the big wave in a 393-foot-long seaside tank with hundreds of thousands of gallons of water. “We couldn’t afford CGI, so we did it for real,” jokes Bayona, who actually did touch up the innovative, actor-buffeting live footage with 600 digital-effects shots in postproduction. For close-ups, Watts sat in a swivel chair attached to the tank’s bottom. “You’re breathing oxygen underwater, and just before the cameras roll, you let the oxygen tube go and unleash yourself. And of course you want to push yourself so the shot is lasting as long as possible. But just as I was about to release myself, I couldn’t get out. They couldn’t turn it off. It turned out it was a bit of a technical difficulty, but I thought it was the director saying, ‘Oh, let’s get this extra little panic.’ I was furious, just wild and angry, and when I came to the surface, I was shouting, ‘WHOAAAA!’ ”