There will be blood: Demi Moore, Margaret Qualley and director Coralie Fargeat on the fall’s most shocking movie

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As a passionate cinephile and someone who deeply values the power of film, I find myself profoundly moved by the stories of resilience, creativity, and feminism that emanate from “The Substance.” Coralie Fargeat’s directorial debut is a testament to her unyielding spirit and determination, as she navigated the labyrinthine world of filmmaking to craft a unique and thought-provoking work.

Gathering together at a table with Demi Moore, Margaret Qualley, and director Coralie Fargeat is reminiscent of a therapeutic session – except instead of being in a quiet office setting, we find ourselves in a luxurious London hotel surrounded by publicists.

In a stark contrast to her 2017 debut “Revenge,” Fargeat’s new film, titled “The Substance,” delves into the genre of gory body-horror and tackles the topic of aging in Hollywood with audacity and unapologetic bluntness. This thought-provoking movie, set to hit theaters on September 20, caused quite a stir at Cannes Film Festival with its biting wit and frequent satirical humor that subtly undercut the usual glamour. The same irreverent tone was palpable during our chat at the Corinthia Hotel in late August, where laughter could suddenly give way to confessions of deep-seated trauma or reminiscences that were more cringe-worthy than charming.

To this day, a year following the filming of the Paris project, both Moore (at 61) and Qualley (age 29) continue to process the experiences they encountered during production.

In a rather self-satisfied tone, Moore shares, “I had shingles during my first week of vacation when it was just Margaret working.” The trio looks glamorous after our photo session, but Qualley has discarded her heels and they seem relaxed in each other’s company, as if they’ve shared a challenging experience.

“Oh, yeah, I had crazy acne for a full, long-ass time,” Qualley jumps in.

Moore mentions that he shed approximately 20 pounds, to which Fargeat responds with a smile, giving no hint of remorse for pushing them so hard.

Despite their notable roles in films like “A Few Good Men” (1992), “Ghost”, and more recent projects such as Quentin Tarantino’s “Once Upon a Time … in Hollywood” and the Emmy-nominated series “Maid”, the director has managed to take both Moore and Qualley beyond their previous achievements. This stretch was accepted by both actors, despite the difficulties involved. Notably, Moore’s performance is already generating significant Oscar buzz.

“Moore explains that at the end, it should seem like you’ve shared everything openly,” he said. “It required that approach, and it’s the kind of contribution you aim to make.”

In “The Substance,” Moore portrays Elisabeth Sparkle, a TV fitness instructor similar to Oscar-winning Jane Fonda, who gets let go from her job on the day she turns 50. Despite our perception of her as still elegant and attractive, her worth in her profession seems to have decreased with age, as suggested by Harvey, the boisterous studio head (played by Dennis Quaid), who rudely dismisses her while indulging in a meal of cooked shrimp. With no sense of direction and yearning for something new, Elisabeth chases after a questionable remedy hidden in the back alleys that promises to reveal a younger version of herself (Qualley) if she shares her body with this alter ego, switching every week. This newly created self, born from Elisabeth’s spine in classic Cronenberg style, names herself Sue and is hired by Harvey for a new show, boasting greater allure.

The movie offers a scathing examination of Hollywood’s practice of setting an expiration date, particularly for women. However, “The Substance” holds a deeply personal significance for director Fargeat, 48, who grappled with similar feelings when she turned 40. She recalls being overwhelmed by melancholic thoughts about aging and fearing that she would fade into invisibility. Writing the film served as both a liberating act and a challenging one, as it forced her to confront these fears head-on.

The director expresses, “I sought to break free from that sensation as I perceived it as an overwhelming force, not solely related to one’s age.” Moore nods in accord. “At every stage of life,” the director continues, “there’s something that seems amiss – about how you appear, or about how you feel.”

In Fargeat’s meticulously crafted script, dialogue is sparse. Instead, the narrative unfolds through visually captivating storytelling. When Sue disregards the time-sharing rule, things take a grisly turn. She persists in keeping Elisabeth beyond her allotted week. Consequently, Elisabeth’s physical condition deteriorates grotesquely, leading to a dramatic climax where Sue gives birth to a monstrous creation bred from desperation. Fargeat skillfully employs uncomfortable close-ups and intense, disturbing violence to expose Elisabeth’s role in her own demise.

Moore notes, “This is what gives it such strength.” He explains, “It’s not so much the actions portrayed, but rather the self-inflicted harm she undergoes that is most intense. The script transforms an internal struggle with self-violence into a form that offers viewers a degree of detachment, enabling them to truly perceive the harm we inflict on ourselves through relentless criticism and comparison.”

In a recent article about the film, I came across a tagline that read, ‘Womanhood is a form of bodily terror,’ according to Fargeat. The film is unsettling in numerous ways, but what makes it particularly chilling is its exploration of the violence inflicted upon our own bodies.

It’s unavoidable that viewers will draw parallels between Moore and her character, given her personal struggles with sexism and ageism in Hollywood, which she openly discussed in her candid 2019 memoir, “Inside Out.” However, Moore points out that Elizabeth perceives the world from a unique, self-destructive viewpoint.

Moore explains, “I may empathize with her situation, but I’m not Elizabeth.” She suggests that there could have been various ways Elizabeth might have reacted to being fired, and our outcomes would have differed. Moore wonders why Sue didn’t choose to create her own show or produce herself, as one might expect. Instead, she appears to continue seeking the same recognition and approval.

In simpler terms, Sue embodies the “male ideal” or the male gaze, as Qualley described. This aspect of the role was frightening for her, as Sue is a highly sexualized character who serves mainly to represent an unreachable ideal. Qualley spent months preparing for the summer production, working out to achieve Sue’s seemingly perfect physique, which resembles what Fargeat refers to as a “shell” of traditional female icons like Marilyn Monroe and Jessica Rabbit.

Qualley states, “We’re portraying perfection correctly?” she says. “The movie carries a powerful message, so I felt it necessary for our version of perfect to be healthy, even if it’s not entirely realistic. I consider myself lucky that the explicit scenes were filmed early on because during the five-month production, my body naturally changed, and my figure gradually lost volume.”

Unperturbed by the abundant nakedness in “The Substance,” which was all purposeful, Moore casually remarks, “I found Margaret’s rear end quite appealing.”

In a simpler and more conversational style: Despite Qualley being a professional dancer, she found it challenging to portray absolute confidence during a scene where she didn’t feel as confident herself. The dance number, inspired by Dua Lipa and full of twerking and calisthenics, was particularly emotional for her, leading to a lot of tears before filming. However, this intense emotional preparation ultimately won the show for Qualley.

As a movie enthusiast, I didn’t anticipate how demanding it would be to convincingly portray being hot when I wasn’t feeling it at all. Yet, one of the film’s key themes was highlighted through this struggle. I devoted countless hours each day, tirelessly rehearsing that dance, as it was a world away from my usual physicality. However, I found immense satisfaction in testing my limits and eventually mastering it.

As a cinephile, I can’t help but acknowledge that the trailblazing path trodden by Moore’s generation, which includes my mother, Andie MacDowell (both graced the screen in 1985’s “St. Elmo’s Fire”), has undeniably cleared a way for me. However, it’s not that I haven’t had the chance to play a character like Sue; rather, I’ve always been fortunate enough to have a wider array of roles to choose from.

One factor that made this film thrilling for me was that it presented an opportunity to tackle something directly, as the character was intended to be extremely attractive and shallow. Compared to some of the bizarre characters I’ve portrayed in the past, I feel fortunate.

In essence, the main challenge faced by both actors was the extensive use of prosthetics in the movie, crafted by French makeup artist Pierre Olivier Persin. This work drew inspiration from films of their youth, such as “The Fly,” “The Elephant Man,” and “The Blob.” The transformation of Elisabeth into Monstro, a grotesque blend of her and Sue, needed to be a genuine metamorphosis that drastically altered the character. Moore assumed the role of Elisabeth, nicknamed Golem by Fargeat, under a layer of aged skin. On the other hand, Qualley was required to embody Monstro, an experience she has yet to fully recover from.

Qualley describes her experience by saying, “I was inside, with Demi’s face superimposed on my own physical form,” and Moore adds, “I believe it wouldn’t have been possible for both of us to fit into the suit.”

Qualley exclaims as she leaps back into the conversation, “I wish you were there with me!” She stiffens suddenly in her seat. “I was all by myself in that contraption,” she continues, “I kept bumping into things. It felt like a place of torment. I’ve recorded numerous videos of myself saying, ‘I can’t take it anymore.’ It was eight days long. Yes, that doesn’t sound very long, but trust me, it was challenging.”

Everyone in the room confirms that it does, actually, seem like a lot.

In a candid moment, Qualley shares about her experience dealing with trauma from the shoot, saying, “We’d keep pushing until I had a panic attack. It’s tempting to try and peel off the layers of this trauma, but unfortunately, you can’t remove it without taking your own self with you.”

In “The Substance,” there are numerous scenes that will leave you with a lasting feeling of unease. Limbs detach, flesh rots, and the sheer volume of blood spilled seems unparalleled in cinematic history – it was as if 30,000 gallons gushed from a real firehose for this particular scene. Following the 87-day main filming at Paris’ Studios d’Epinay, the team spent an additional 30 days focusing on close-up shots of the intricate prosthetics.

According to Fargeat, it felt akin to the mad scientist’s workshop of a professor. Essentially, we were pioneering our unique approach to filmmaking.

In the movie, a particularly nerve-wracking scene might be attributed to Quaid’s performance. Despite his role being relatively minor, it holds significant importance. Interestingly, Quaid took over from Ray Liotta following his passing, and according to Qualley, he proved to be “the star player.” As Fargeat describes, the character portrayed by Quaid embodies “all the negative behaviors in a single individual.”

Moore humorously yet obviously disturbed, remarks: “The scene in the movie that’s undeniably the most gruesome for me is having to face Dennis Quaid as he devours shrimp.” He goes on to describe his revulsion, stating, “Watching him tear off their heads – just look at it. It’s as if he’s demonstrating what he does to people. He rips their heads off, tears the tails off, and spits out the remains.”

“Fargeat commented that the scene in question left him truly surprised. During the showing at Cannes, he noted, many men disliked the scene during editing. However, its impact grew significantly as it came to symbolize a potent message.”

As a cinephile, I’ve got to say that Quaid’s character, Harvey, in this film, is nothing short of a brilliant satirical portrayal. However, there’s an underlying layer to this studio executive that resonates deeply – he embodies the unfortunate reality of those in power who often objectify women. It’s a stark reminder of the industry’s past and a call for change in the present.

In everyday terms, Moore affirms that while it may be displayed more subtly in reality, the underlying message, the force, the deliberate intent is indeed pervasive. She recalls an instance on the set of “A Few Good Men” where Aaron Sorkin defended her against a studio executive who wanted her character to have an affair with Tom Cruise’s character. When she declined, the executive responded, “Then why did we cast Demi Moore?” This demonstrates a clear example of standing up for women’s roles and rights in the film industry.

“Moore explains that their behavior seems to be a result of how they were trained, without placing personal blame on them. Instead, she suggests that such actions are an integral part of their upbringing and socialization.”

She’s pondering the fact that things are distinctly different now, even though change has been gradual, as Moore puts it. The progress made is substantial, she notes, and this seems to be something she’s given a lot of thought to. However, her tone isn’t one of anger, but rather reflection. She acknowledges that the past can’t be undone, but emphasizes the need for forward momentum. “We can’t keep hammering away at it,” she says, “Instead, we must take the initiative and move on. It all begins with us.”

At the end of our hour-long therapy session, Qualley remained unable to acknowledge that the final movie justified all her struggles. However, she found the process, despite its difficulty, to be an authentic experience of freedom.

As a passionate film aficionado, wrapping up that movie felt like uncovering the very purpose behind my cinematic journey – as if I’d finally scratched an itch I didn’t even know I had. The sense of liberation I experienced after going through that adventure is indescribable.

Moore emphasizes that the profound realization of valuing oneself, in one’s current state, became even more profound as the process progressed. It wasn’t just about external aspects. Rather, it encompassed all those internal parts of ourselves we tend to overlook. Moreover, she refers to the path that led us to our present location.

For Fargeat, “The Substance” serves as a profound release, touching not only her but also the audience. She expresses, “Just like I aspire for the movie to impact those who watch it, I feel the film impacts me in return.” She adds, “I experienced a sense of liberation and increased self-acceptance.”

It’s a liberation the film offers us too. Ideally, though, with less blood.

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2024-09-03 13:34