‘She Was Just Trying to Fly’

As an actress who has portrayed a character like Grace, I can’t help but feel a deep sense of empathy for those who have experienced domestic abuse. My role in “Bad Sisters” was more than just acting; it was a chance to give voice to the voiceless and shed light on a dark reality that many women face.

Spoilers follow for the second season of Bad Sisters through finale “Cliff Hanger,” which premiered on Apple TV+ on December 23.

In the series Bad Sisters, Grace Garvey’s conclusion might not be a joyful one, but it’s certainly an impressive one, according to Anne-Marie Duff. In the season opener, set two years following Grace’s act of killing her abusive husband JP (Claes Bang), she appears to have transformed into a more assured individual, expressing herself sexually with greater confidence, laughing heartily, and asserting herself when with her sisters. This development allowed Duff to expand the character, making her more self-assured. However, the remnants of JP’s abuse are still evident in Grace’s recurring nightmares about his death, her discovery that her new husband, Ian (Owen McDonnell), is a fraud, and her reluctance to share her struggles with her sisters. In the following episode titled “Penance,” Grace meets an untimely end in a car crash, leaving behind several unanswered questions: Where was she headed or returning from at midnight; why didn’t she bid farewell to her daughter, Blánaid (Saise Quinn); and what was the significance of the hidden cash stashes in her home? Most importantly, who are the Garvey sisters without Grace?

Duff found it fascinating to watch the sisters when one of them was without a limb, observing how their unique traits emerged under such circumstances,” she said. “This was especially intriguing because she had no prior knowledge of their post-exit experiences, having stopped reading scripts following her character’s demise.” In other words, this season, the show wasn’t as focused on the typical ‘caper’ elements as it has been in the past, due to the sisters being confined within a shared grief bubble.

In the final episode “Cliff Hanger,” a series of flashbacks reveal Grace’s determination to assert her independence. She refuses to pay Ian after confessing to him that she killed JP, and promises to safeguard Blánaid from him. She scornfully rebukes his taunts, breaks free from his grasp, and drives off into the night. Although this background information doesn’t diminish the tragic nature of her accidental death, it allows Duff to highlight Grace’s self-worth, and delve deeper into her complex character as she continues to stand up for herself – a recurring theme in “Bad Sisters,” which, beneath its murder-mystery layers, consistently emphasizes the empowerment of women.

Duff describes the events following her departure from the Garvey family as somewhat akin to observing what occurs when one leaves a room. Such an experience is usually unattainable in life, but Duff had the opportunity to witness it; she was eager to watch and learn.

In your question, you asked about how knowing Grace would die this season affected the approach towards her character. To rephrase that in a more natural and easy-to-read way: Could knowing ahead of time that Grace was going to be written out of the series influence the way you portrayed her during filming?

Grace seemed destined, with a touch of ancient heroism, as if her only option was the grand finale. As the series progressed, there came a sense that she might miraculously rescue herself in the last episode, poised to ask for aid genuinely. But just when we thought she would, she vanished. The dramatic intensity of it all left me captivated.

You asked if I requested anything specific from Sharon’s scenes regarding spending more time with the other Garveys after learning about Grace’s fate in the first season. However, since we eliminated the Prick (JP), it wasn’t necessary because I had more opportunities to interact with the girls. Interestingly, this time, it was Grace who chose to isolate herself. But I truly enjoyed some delightful, laughter-filled days with the girls, especially during the hen party and the wedding scenes. The wedding filming was simply fantastic; we had a wonderful time. Previously, I only watched as they all went off to shoot their scenes while I was stuck playing the gloomy scenes with JP. However, this season, I got to have much more fun.

In the beginning of the series, an altercation between Grace and Ian takes place, which surprisingly escalates into a physical confrontation. Towards the end, we witness a deeper understanding of that incident. Let’s go back to when we shot that scene. I was fortunate because we filmed the events leading up to that incident almost in sequence; we captured the scene where I confess to him before filming all of the argument. The intensity of that devastation really resonated with me, reminding me of the scene in ‘Tess of the d’Urbervilles’, where she reveals she was raped and had a child. It was quite impactful. However, it was sad because Ian appeared to be the ideal man, someone Grace trusted wholeheartedly. Sharon could have ended it there, showing him as a good man who realizes their relationship is unhealthy and decides to walk away. But of course, she chose to add more depth to the situation.

It was captivating to observe Grace’s intense struggle. She’s found herself in a tight spot and responds impulsively, much like a frightened animal. What intrigued me was not knowing how the narrative would unfold, as it’s often unclear where all the details will be placed within the storyline. Initially, they contemplated scattering the information throughout the season via flashbacks, but eventually decided to frame the entire season around it. This made my role more challenging because I had to portray it as if it were a single movie. This situation was unique because it differed from her previous marriage experience. Her first husband’s abuse was almost comical in its exaggeration, while this time it’s far more subtle and intricate. As an actor, this complexity is a gift. Additionally, Dearbhla Walsh, who directed during the first season and returned for the second, served as both director and producer. Familiarity with her character allowed us to understand that although we were in a new situation, we knew Grace and her past, which I could draw upon during our performances.

How did Owen come across as a co-actor? I heard Claes Bang would affectionately call you “Mammy” during breaks in the first season, and I felt you deserved a Nobel Peace Prize for that.
[Gasp in surprise at “Mammy” then laughs.] Owen was undeniably one of the kindest individuals in the film industry. [Laughs] However, it seems he had to be, given that audiences needed to believe he was this extraordinary character, considering his striking good looks and apparent purity of spirit. You found yourself rooting for him to be with Grace, then thinking, Oh, maybe it’s Eva! Could Eva find salvation here! It’s quite ingenious. We had a delightful time together. The camaraderie was filled with laughter. It’s only natural that when playing such tragic characters, we often laugh excessively due to the tension’s release.

I merely wanted to confirm that nobody has continued referring to you as “Mammy,” since it would have been inappropriate during the entire second season, and thankfully, it seems that wasn’t the case.

I’m so relieved. You’ve said of Grace’s physicality this season, “She’s just this hummingbird, she has nowhere to land. It was much more taut, whereas in season one, she’s becoming as invisible as she can be.” How did you work to convey that tautness?
If I’ve ever had something that I’ve needed to say, I’ve always felt like I have a huge weight on my chest, and there’s a kind of [flutters her hand over her chest]. I always imagine there’s a little bird trying to take flight. That’s what I felt for season two: She was just trying to fly, but she was trapped behind glass and could never quite break through. She thinks that by unburdening herself and confessing to him, that way freedom lies. It can be a physical sensation that you think you need to feel in your body, as well as in your thought process and emotional life. If you just imagine this physical energy, it can really inform everything. Even now, as we’re talking about it, I can see it. She has these wings, but they were completely clipped in season one. She didn’t even think about taking off. But now she thinks about taking off, and she can’t quite soar. Mayhaps if she’d survived the car crash, she would have — if she’d come through that like a phoenix, coming out of the fire. But she doesn’t. She’s burnt to a crisp. There’s very much a birdlike energy around Grace.

In the final scene, Grace dials a number from Ian’s old phone and uncovers that he has another spouse. She confronts him at a tavern without the money he demanded. Instead of succumbing to his manipulation, Grace asserts herself, expressing anger and defending her position. Does her behavior in these moments evoke a sense of catharsis for her audience?

Speaking of that thrilling sequence we just witnessed, it’s the car crash scene, which was our final take during filming. In the making of this scene, we had some extraordinary stunt performers involved. Could you share more about your experience with those high-tech stunt vehicles? It’s quite fascinating how they operate: you’re seated within the vehicle and it appears as if you’re in control while driving on the road. However, there’s someone on the roof of the car steering it! The initial sensation can be quite startling, like [mimes a surprised expression] “Wow, oh my goodness!” But once you grasp that the expert handling the wheel is ensuring your safety, it becomes less daunting.

Occasionally as an actor, you might find yourself in situations where you need to express deep emotions simultaneously with intricate technicalities. For instance, you may have to look in one direction for a specific moment, then gasp dramatically, followed by a staged fall to the side; it’s almost like being on a Star Trek set! Performing a farewell scene for Grace, recording a message for Eva or Sharon, was quite intense. You feel a great sense of responsibility and worry about not messing up because there are many people watching. At such times, you also need to remember the sequence of actions. However, Dearbhla was exceptional, always reminding me that the technical aspects don’t matter if the audience doesn’t feel for or connect with me. She helps keep my actor’s perspective in check amidst all the lights, cameras, and microphones.

In a different conversation, she shared with me the advice, “Never forget the character’s truth.” To me, Grace’s truth in that particular scene was her struggle against an overwhelming task. The price of challenging him and refusing, given her reluctance to do so, was significant. For many of us, denying someone we care for is tough, but for Grace, who has spent years adapting, compromising, and yielding, it’s especially challenging. It was about reaching a point where she felt completely drained, thinking, “What comes next? I have no idea.” This uncertainty is something she often grapples with. At this moment, she reaches out to Eva for support because standing up for herself is new territory for her. For Grace, the act of asserting herself feels like, “Oh my God, what’s next? Because I just feel like collapsing after doing it.

Have there been instances where women or men have engaged with you about how your character Grace’s portrayal impacts them, given your work with Women’s Aid?

A while back, I received an email from an artist I had made a purchase from a couple years ago. In her message, she mentioned having watched the show “Bad Sisters,” and then shared a story about her mother. There’s something about art that connects with people on such a deep level, you never know who it will touch. It’s truly remarkable and makes me feel thankful to be part of this field. As I said when I received an award, political TV is indeed powerful. It allows you to express to someone, “What’s happening to you is not right,” in a subtle way by telling a story. This can be incredibly impactful, especially for those who are struggling. One should never underestimate the power of television.

In this conversation, we’ve discussed patterns of behavior. I was curious if there were any concerns about portraying Grace as a woman who experienced domestic abuse and then found herself in the same situation again. Was there a worry that the story might imply that a woman who survived such ordeals couldn’t have a happy ending? Indeed, I shared the desire for Grace to be basking on a beach with Javier Bardem applying sunscreen, but that wasn’t to be. It’s a delicate matter, isn’t it? But let me tell you, the conclusion of season one wasn’t a healthy resolution. Grace committed murder, though it could be seen as self-defense in many aspects. I believe this might be why Sharon made the decision she did. Also, Grace leaving the show allowed other characters to explore their own vulnerabilities instead of it all being Grace’s burden. However, it’s a complex situation. As an actor, you don’t have much control over these decisions. There is another universe in which Grace could have had a different season two, no doubt about it. Additionally, there’s a truth to the idea of repetition. But, I understand your concerns, my friend.

2024-12-24 08:54

‘She Was Just Trying to Fly’

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