Mama – Production Notes - I Watch Mike

Dale reflects on the process: “Casting children isvery intuitive. Then you take a chance that what you seeat the audition will hold up when you get into the rigorsof working long days away from home—and, in thiscase, going to a darker place than the average child actorwould go. I’ve been so impressed with how Megan andIsabelle have managed to maintain a kind of grace andfun through it all.” He laughs: “It’s been inspiring and abreath of fresh air for all of us cynical film people.”Andy Muschietti couldn’t have imagined that thetwo characters he and his sister created six years agowould manifest into the young performers in his featuredebut. He discusses: “Victoria and Lilly have differentarcs, but they both have to go through a lot emotionallyand be credible. Megan is a more rational, adult kindof actress, even though she’s 10, while Isabelle is morevisceral and spontaneous. But they both bonded withJessica and delivered the perfect intensity.”As for casting the film’s signature character? Mamaherself is the final element that translates from the shortfilm to the feature. The role is played in both pro ductionsby Spanish actor and movement expert JAVIERBOTET, whom Andy had seen in the Spanish horror film[Rec] and recognized as perfect for the title character.Standing an astonishing seven feet tall—withuncommon body features and physical abilitiescommensurate with his measurements—Botet movesdelicately, deliberately and ter rifyinglyas Mama. Barbara Muschiettisurmises: “Javier doesn’t speak a word,but he speaks volumes.”Del Toro likens Botet to one ofthe former’s frequent collaborators—the inimitable Doug Jones, who hasplayed fascinating characters in delToro’s movies, such as Abe Sapien,Pan, Pale Man and the Angel ofDeath—describing Botet’s work as“part performance art, dance andcreepy mime.”Finally, Aliens’ DANIEL KASH joined the productionas Dr. Dreyfuss, the psychiatrist in charge ofVictoria and Lilly’s care after they are mysteriouslyfound in the woods and returned to civilization.Although his interest initially seems altruistic, thedoctor’s motive in diagnosing the girls turns out to beless than benign. As one might imagine, Mama is nonetoo pleased with his therapy suggestions or subsequenttreatment plan...The Look of Terror:Design of MamaAndy Muschietti reveals that he long envisionedthe character of Mama “as a Modigliani painting left torot.” Being a renaissance man, the director designed theoriginal Mama with reference to the “lowbrow” style—also known as pop surrealism—made famous by ChetZar, an American artist noted for his dark visual art,makeup effects and digital animation.The director’s extensive drawings and storyboardsinspired Mama cinematographer Antonio Riestra,production designer Anastasia Masaro and costumedesigner Luis Sequeira to collaborate on the wellblendedcolor palette and detailed style choices featuredin every shot of the film.Lilly plays idly with Victoria’s hair.– 17 –