Isabelle, was it harder to approach the role in the past when you did Orphan from the point of view of a child, or this film 10 years later where you play Esther, or from the point of view of an adult? Since you were a little girl when you made the first film, I wonder if you look at the role a little differently now that you’ve grown up.
Furman: My point of view as a child when I approached the film was very different than it is now. I had a whole team of people who helped me and with me create Esther. As a child, I did my best to bring to life the vision that was in the script. It was the first film I ever made and working on your first film… It’s not necessarily that you can’t say certain things, but rather you don’t know.
You act soft and you’ve never been on set before and you don’t know how much freedom your character has and what you can play with. Also, everyone had a very specific idea of who Esther was the first time around, so a lot of the work I did on the character was with the dialect. “What does she feel at this moment?” It came from trying to understand Esther’s emotional state.
This time I really wanted to try and capture it again, because it’s very easy to over-intellectualize something. As you get older, you understand all the intricacies of the conversations about what is being said, what she is really trying to do, and manipulation. The ability to find a way to get two people married is something I’ve learned from growing up as a woman, as an actress, to where I was as a child, and to all the ideas and wisdom I had from the original script – it all came together. in this cocktail to help me get Esther back.
I wouldn’t say one was better than the other when I was a kid or now. Both were completely different experiences. This time I had definitely more freedom to play.