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Ry Russo-Young Discusses John Krasinski's First Sex Scene and Collaborating With Lena Dunham for 'Nobody Walks'

Photo of Nigel M Smith By Nigel M Smith | Indiewire October 16, 2012 at 10:41AM

Ry Russo-Young may have worked with her highest profile cast to date for her third directorial offering "Nobody Walks," but that doesn't mean she's softened up. Working off an incisive and surprising screenplay co-written by "Girls" sensation Lena Dunham, "Nobody Walks" explores rocky emotional terrain much like to her breakout sophomore feature "You Won't Miss Me," while making no apologies for the wayward heroine at its center.
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Ry Russo-Young at a New York screening Magnolia Pictures' "Nobody Walks," hosted by The Peggy Siegal Company.
Amanda Schwab/Starpix Ry Russo-Young at a New York screening Magnolia Pictures' "Nobody Walks," hosted by The Peggy Siegal Company.

Ry Russo-Young may have worked with her highest profile cast to date for her third directorial offering "Nobody Walks," but that doesn't mean she's softened up. Working off an incisive and surprising screenplay co-written by "Girls" sensation Lena Dunham, "Nobody Walks" explores rocky emotional terrain much like to her breakout sophomore feature "You Won't Miss Me," while making no apologies for the wayward heroine at its center.

A hit at Sundance where it was acquired by Magnolia Pictures (they release the film this Friday; it's also currently available on VOD), "Nobody Walks" stars Olivia Thirlby as Martine, a 23-year-old artist from New York City, who ventures out to Los Angeles to complete work on her art film with the help of Peter, a sound desginer (John Krasinski) she's loosely connected to. Things get complicated when Peter starts to fall for Martine's charms, despite being married to a therapist (Rosemarie DeWitt) who has unfulfilled desires of her own.

Indiewire sat down with Russo-Young in New York to discuss collaborating with Dunham for "Nobody Walks," shooting Krasinski's first sex scene on film, and the film's divisive protagonist.

Like your protagonist Martine, you're a New York-based artist with a background in experimental filmmaking, who travels to LA for work on occasion. How much of you is in the character?

I think Martine is like a fear-version of myself. She's like me in a worst-case scenario. A lot of me is in Martine in some ways, but I think it's more of in the superficial kind of thing. Like the experimental filmmaking background, or the NY or LA -- we kind of took that experience and then channeled that into this worst-case scenario type of story.

Nobody Walks, Olivia Thirlby

Something I experienced being a 23-year-old woman in the world, is the way that all of a sudden you're kind of available to men of all ages, in a way that when you're 16, it's kind of creppy for 40-year-old men to be with you. But when you're 23, it's like totally legit. A lot of friends of mine, and me, and young women I think, experience this thing when all of a sudden you're that age, and you totally have sex with people who are much older than you, and get in relationships with them. It's sort of a mentor-esque relationship often. That is gratifying for both parties. I don't think it's like statutory rapish at all, it is very complicated because it is very...mutual. I think adding the complications of work and those dynamics, along with creativity -- it can get even more kind of complicated.

It's fitting then that you have a teenage character in the film (played by India Ennenga), who's exploring her own sexuality.

And an older: a Mom. It's almost like three characters, generations, that are all coming of age in a sense. And they're struggling with the line almost between professionalism and sexuality, and when those things get blurred. They have different modes or ideas of what those boundaries are.

Nobody Walks

Olivia Thirlby is an innately likable performer, but Martine is hard to root for. Throughout she does questionable things and never really apologizes for her actions. Were you wary of alienating the audience?

Yeah, that was definitely something we were aware of from the beginning. Like, "Oh, how likable is Martine, and how empathetic does she need to be?" And all of that. I think that one of the things for me is that, calling Martine almost the protagonist – she's both the protagonist and the antagonist in a way. I think in a way you very much go into the movie with her, but I think by the end, it's interesting that your allegiance shifts throughout the film to different characters. You empathize with different people at different times. I think by the end of the film, you're very much on the different side, you're with Rosemarie DeWitt and you're like, "Yeah. Get away! Protect! You're like, family! Please!" I think that's something that's true to life, and in a way there's such a pressure when making movies to make good characters and bad characters, and to know those moral codes from the beginning, it has to be so polarized. I think it's more similar to life where good people screw up and some people at times you're alienated by them and then other times, you feel for them and things kind of become revealed. And that's something we wanted to play with in terms of allegiance to certain characters.

"Part of what we're reacting to is not only that she goes and fucks with this family, it's also that she goes and has a lot of sex and doesn't feel bad about it."

The other thing I think is that if Martine was a guy, I don't think there would be as much issue. Like, I don't think we'd be discussing this as much. I don't think the audience would necessarily have as much of an issue with empathizing with her. Part of what we're reacting to is not only that she goes and fucks with this family, it's also that she goes and has a lot of sex and doesn't feel bad about it. I think as a society we see a girl that fucks three people in a week, and part of us is like, "Man. She's a slut. She's a bad woman." I think a part of me is interested in questioning that judgment and that boundary, and wanting the audience to think about that ideally, and those kinds of judgments that they have toward those characters.

“Nobody Walks” finds you working with your biggest cast yet, but you really do some atypical casting with the big names you snagged. Why did you cast those Olivia and John in their respective roles. Were you actively trying to subvert expectations?

No, I mean, I'm not that organized. It's more like I believed Olivia Thirlby would be an artist. For me it was like the barometer was, "Can I see this girl lying with a Bolex in the desert shooting ants?" Like we also didn't want her to look like Megan Fox because that would just be so like – talk about a movie that we've seen before. Eye roll. So that was part of the thinking of Olivia, to cast someone who was more enigmatic than maybe overtly sexy. Someone who people were interested in and attracted to, and wanted to kind of be pulled in by, but in a less obvious way.

And John actually originally came in for the role of Billy, played by Justin Kirk in the movie. And when I sat down with him, as soon as he walked in, I was like, "God this guy is so Peter." Like he's so lovable, and affectionate, and giving in a way, I think, that I felt like was really true to Peter. And he also really seemed ready for it. I could tell that he wanted to go there, and was down to go there. He never had sex on screen before, and that was a first for him. He was excited to do that, and enter this new realm.

This article is related to: Ry Russo-Young, Lena Dunham, Nobody Walks, Interviews, Sundance Film Festival





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