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Riley Keough has pneumonia.
The hardest part was the montage of penises, said the films editor Joi McMillon.
Nobody should have to look at that.
Im just saying, Im a survivor.
I smell marijuana, Keough said, accurately.
Other scenes are shot from security-camera angles that feel a little Kubrickian and uncanny.
At one point the camera zooms into Zolas brain, represented as a sort of wavy Microsoft screensaver.
Its all set to a Mica Levi score thats both jarring and erotic.
The whole thing feels like a cracked-mirrorHustlersmeetsUncut GemsmeetsTheFlorida ProjectmeetsThe Shining.
I like for things to feel stressful, laughed Bravo at the post-screening Q&A.
I like bad vibes.
Im really attracted to them cinematically, as long as theres humor always somewhere around the corner.
She credited much of the films idiosyncratic tone to its inspiration, King.
In a way, I needed to have her blessing, said Bravo.
It was ferocious and sexy and disturbing and magnetic.
We wanted to do her justice.
An audience member who identified themselves as from Tampa asked theZolateam to share their most challenging moments from filming.
I had to do it four or five times.
That was my way in.
Im a ballerina and I didnt want to look like a ballet dancer, she said.
I wanted to look like a stripper bitch.
Im her biggest fan, he said.
To see the types of mountains she had to climb to put a pen to paper was truly crazy.
The last audience question was directed at Bravo and centered onZolas portrayal of racial dynamics.
And about a thing that doesnt go well, said Bravo.
So yes, race is there in every single second of the film.
That gives [Stefani and Zola] less value.
I think this story matters, she added.
Its not just the [places] weve been looking before.
