“Imaginary” is now available and it's prepared to terrify you.
The new scary film, produced by Jason Blum and directed by Jeff Wadlow, features DeWanda Wise as Jessica, a stepmother who returns to her family's home with her new family members. There, her stepdaughter Alice (Pyper Braun) forms a connection with one of Jessica's old toys, Chauncey. Soon, this bond takes a dark turn, and Jessica must confront her old demons to ensure Alice's safety.
Wise, who recently faced dinosaurs in “Jurassic World: Dominion,” talked to TheWrap about being terrorized by a man in a large bear costume, serving as an executive producer on the film, and how she had to struggle to wear a dress in the movie’s effects-filled finale.
What attracted you to this project?
Part of it was the contrast. I've portrayed many strong, knowledgeable women, and the chance to depict someone closer to my true self, with vulnerabilities, was a big draw. I also enjoy working in the genre because the stakes are incredibly high, which is rare. As an actor, you often prepare for serious roles, but then end up with mundane tasks. [Genre] is like the film equivalent of Antigone.
The character is intriguing because she gets pulled into this supernatural journey that originates from her childhood attachment to an imaginary friend. What aspect of the character resonated with you?
When people ask, “What scared you as a child?” most will say snakes or spiders, but I was always afraid of losing my sanity. There's a part in this movie where you question Jessica's mental state, which is also her fear. I connected with that. There's always a way in for an actor. This movie had several, but that was a major one for me. I appreciate horror films with a psychological aspect; I love “A Clockwork Orange.” I enjoy films that bring more than just jump scares and twists, and have an unsettling psychological undercurrent.
What was it like being pursued by a man in a giant bear suit?
It was amusing. Making a horror movie is fun. I've worked with a few puppeteers before, including the guy who portrayed the velociraptor in “Jurassic World.” I enjoy working with creature performers and puppeteers. Our bear character is played by an actor named Dane, who is very tall and enormous. It's quite comical to see a creature performer on a break, sipping coffee with the head off but the body still there. It's absurd and enjoyable.
It’s like going backstage at Disneyland.
Yes, it is. Or wherever the break room is on 42nd Street.
Working on a horror film is one thing, but working on a horror film with Jason Blum is another.
When it comes to these things, Jason Blum is an amazing partner. And something that’s really important to me, it’s just as crucial how something is made as what is made, which is not common. I hate to tell you, that is not a common point of view. And Hollywood, you know, it’s a very ends justify the means kind of industry. But Jason has really created a culture of care. The crew that we worked with in New Orleans have worked on a number of Blumhouse productions. The way that they cast the crew for this particular job was absolutely astonishing. I felt this groundswell of support from the very top down. And you just don’t always get that.
You were an executive producer as well. What was that like?
It was a delight. I’m a very bossy and opinionated actor in general. So it was nice. It was just nice, not having to go, “Can I see this? Can I see that?” From the very beginning, from any script changes that needed to be made, to making the story more specific, as we got the cast into place, making it New Orleans over Connecticut, to having a little say in this incredible set design, making sure that every department was in clear communication so that everyone’s work really had the opportunity to shine. I just love it so much.
Do you remember a note that you gave that you’re really proud of?
I had my whole fitting and originally, the board I created for my character’s wardrobe was very warm, it’s very feminine. It’s the work you see on screen. And originally [costume designer] Eulyn [Colette Hufkie] had me in a lot of blue and a lot of green and I was like, “Ah, it doesn’t pop the same for my chocolate girl.” So she and I went back and forth a little more and she came around. Then when it came time to decide what the third act outfit was going to be … I love iconography, and if you’re trying to create a classic movie character, it’s about silhouette and it’s about knowing what historical nods you’re making. That’s what makes people subconsciously go, oh, that’s something you’d never forget. I told Jeff, I was like, “It’s a dress. And he was like, “DeWanda, that’s when all the action is. You will be running around this set. Are you sure you want to do that in a dress?” And I said, “Jeff, trust me. I will not complain, I promise you. It is this yellow dress, there is nothing more powerful than destroying the imagery of a tattered dress at the end of the movie.” It’s “Carrie.” It’s “Die Hard.” Just having the imagery of this stepmom at the end of the film and this utterly destroyed yellow dress and it bouncing off of the blue of that final set.
Especially where she goes, it’s very “Alice in Wonderland.”
Exactly. You picked up on it. Yeah, that’s it exactly.
Have you thought at all about a sequel?
I think what’s exciting about the possibility of a sequel is that in this case, it makes sense because we’
“Imaginary” is in theaters now.
