Based on the short story of Jim Shepards of the same name, The World to Come follows the lives of two women farmers who have been left deeply dissatisfied with their negligent husbands and the mundane and mundane tasks that occupied their days. As Abigail (Katherine Waterston) mourns the loss of her only child while caring for the needs of her husband, Dyer (Casey Affleck), her free-spirited neighbor Tallie (Vanessa Kirby) rises to her husband’s vengeful control, Finney (Christopher Abbott).
As the seasons change in 1856 in the back of New York, Abigail and Tallie find themselves inextricably linked. Freed from their passionate devotion to each other, the two women discover that their intimate relationship is able to fill a void in their lives that they never knew existed, even if they do not have a framework to navigate. in their newly found love.
Describing her character as a very rich, complex and attractive figure, Waterston initially drew from the lines of sound on the front page that seemed to permeate throughout the script. Since Abigail is a reserved woman who inspires much of her feelings, her diary entries read like voices in the movie are the only window to her true emotions. As a naturally expressive actor, Waterston felt a unique responsibility to contrast Abigails with deep pain inner life with the strong façade she chooses to show to the world.
When you are working with really great actors who are giving you so much, the temptation is often to reward them with a connection, Waterston, 40, told NBC News. Sometimes, I felt like I was a little rude. An actor is giving me this amazing energy and performance and I am not making eye contact. Sure, other actors know why, but especially when you’re playing with people you want to love, you have that temptation to get involved.
It was a challenge, but it was also very helpful to me that internal tension because she is not someone who does not want to engage. Goes to someone who is struggling to do it; she has so much to give and say, but she just does not know how to do it, Waterston added. So, that desire to want to give something more to Vanessa, for example, but not being able to really help me get me into her character and her turmoil.
Waterston was pregnant with her first child when she first got the script for the World to Come at the End of 2018. For the best part of next year, she bothered with the limited written accounts of LGBTQ people from the 19th century to prepare for the role.
Quite difficult to find 19th-century accounts of working-class people, LGBTQ, so I just figured, I would get what I could get from the most privileged stories we have access to, she explained. I read a lot of Anne Lister diaries, and what was really fascinating about them was: How did people deal with each other when they were alone? What were the conversations they had? How dare they begin to express themselves in front of people, at a time when there was any danger of doing so? Although they were accounts of the most privileged people, those books alongside books on farm life helped me get to a place that felt like I could imagine [Abigail] in this situation.
In addition to reading the most amazing letters from 12th-century medieval nuns that echoed the deeply romantic nature of her character, Waterston said she also discovered the popular series of love letters between Sylvia Townsend Warner and Valentine Ackland from 20th century.
The first time they [Townsend Warner and Ackland] slept together, they decided that night had been their wedding night. And simply saying that now, I have chills in my hands because I played that thought in my head all the time we were making this movie, Waterston said. Once the characters had fallen in love, in every scene with Vanessa, that line was in my head. [I thought], What do people do when they feel love like never before and all they want is to secure it and keep it forever, and how do you express it? You want to do it with marriage.
For so long, there have been stories like this about people who have bonded and loved it for themselves but lived in societies that did not allow it, she added. So, every time I saw Vanessa on a stage, I always said, me [want to] I marry you in the head. This is something I imagine so many people did in their imagination because in their dream life, they were married.
As their characters grow together and begin to feel amazement and joy, Waterston and Kirbys the on-screen natural chemistry seems to only intensify, which Waterston attributes first and foremost to the incredibly rich, captivating script developed over 15 years by Jim Shepard and Ron Hansen.
The scenes were simply inherently exciting, said Waterston, an inherent Deputy alum. When scenes are written really well with plenty of space for performers to play and surprise each other, it creates that tension. All that is interesting about the performance is that space between the two performers, the energy they share and pass back and forth.
As a longtime admirer of Kirbys work, Waterston said she thought there would be no better actor to partner in this horrible love story in the face of two embarrassments for two women who feel more guilty about the abandonment of their respective marriages rather than the development of a fatal, same-sex attraction to each other.
I really loved it [Kirby] to do this with me, so there was a kind of trust there, even in advance for us to lead [the film], because we liked the work of others. I always feel relieved when good actors are hired; I’m always more nervous before the casting is done, Waterston said, laughing. I think loving your co-star, going through like a house on fire like Vanessa and I did, really helped with moments of arrogance and the easiest moments of connection.
I think I just trusted her because I knew she was a great actress and it helps a lot, even surprisingly with intimate scenes, she added. Our friendship, which was immediate and really strong, certainly helped us in those kind of scenes. “When treated well, they are treated like any other scene.”
Waterston said she and Kirby discussed love scenes with director Mona Fastvold, asking each other, What are we trying to say here about these two characters? What does the audience not know that we want to communicate about their connection? I think we talked a lot about it before we shot, and then, it just felt safe and direct.
The world to come now is in cinemas and will be available on request starting March 2nd.
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