Karley Scott Collins stars in Amish Grace, the real-life story about the Amish community in Nickel Mines, which responded to unthinkable tragedy with compassion and forgiveness. Five little girls were shot and killed and five others severely injured by a man who then took his own life. Hours after the shooting, an Amish neighbor comforted the man’s family. The Amish set up a charitable fund for the family and attended his funeral. Their example of grace and forgiveness has been an inspiring example for people around the world and became a book. And now this movie tells the story.
Karley, just 10 years old, is an accomplished performer, and she spoke to me about her role as the sister of one of the murdered girls.
Tell me about the character you play in this film.
I play Katie Graber. I’m trying to deal with the loss of my sister, Mary Beth (Madison Davenport), and just like everyone else, I’m having trouble forgiving the man who killed her. And I have guilt because I’m still alive, and I think maybe I shouldn’t have ran out of the school, I shouldn’t still be here. So I have lots of emotions mixing together and I am having trouble with it. If she’s having a hard time forgiving herself than she is not going to be able to forgive others. She has to learn, the reason she forgives, is that Mary Beth when she was dying had forgiveness in her heart. If you don’t forgive him, the only person it hurts is yourself. It doesn’t hurt him, it only hurts you.
Did making the movie teach you something about forgiveness?
I think it’s a really touching movie and it’s really important that you do forgive.
Did you know anything about Amish people before you made the movie?
I didn’t know as much as I do now. I admire them. They just want to be closer to God and I think that’s wonderful. But it would be hard for me because I would not be able to call my friends and my family on the telephone. I like the clothes, though. They have no zippers so they use pins. They are very, very simple, but they are very comfortable. I think that’s pretty cool.
What do you like about acting?
I love that whatever you get in a character becomes a part of you. I love making friends on set and watching it when it’s finished. I find out new things about myself whenever I portray somebody else.
Your mother in the movie is one of my favorite actresses, Kimberly Williams-Paisley. What was it like working with her?
I loved her! In between the scenes she would help me make grass flutes. And everything she did was so real. I really believed she was a mother whose daughter was murdered. And she is so sweet.
Did you get to meet her husband, Brad Paisley?
No, but I did get to go to one of his concerts!
Was there something you saw in a movie or on television that made you want to act?
When I was like five or six, I am not sure which one made me want to act but I loved the Bernie Mac show so it might have been that one. I loved acting like a princess! I had this Aurora outfit and every time I went to Disney, I was Aurora!
What’s the best advice you ever got about acting?
Don’t think about it, just have fun with it!
What do you do for fun?
I love to draw! My favorite artist is Jasmine Becket-Griffith. She draws fairies. I love reading. I fell in love with the Percy Jackson and The Sisters Grimm books. And I love to swim. With my friends we play the Wii, we love Rock Band, and do each other’s nails and dance.
What’s on your iPod?
I love Taylor Swift and Selena Gomez and Miley Cyrus. I also love Guns n’ Roses! “Sweet Child o’ Mine” is my favorite. I also like Rihanna and BeyoncÃ©.
You’re in another new movie, based on a true story, “Letters to God.” What can you tell me about that?
It’s about a boy who has cancer. When he dies, his dad finds all the letters he wrote to God. It’s very touching. I play one of his friends, who sits with him every day at lunch. They call me liverwurst girl, because I love liverwurst. And I am in “Open Season 3,” and I play a little deer. It was so much fun! And it’s hilarious. One of my favorite scenes is where there’s a little bear and a rabbit but I can’t tell you any more about it!
Beliefnet’s “How Spiritual is Your Family” quiz made me think of these movie families, among the very few on screen who are unabashedly spiritual.
1. The Blind Side Based on a true story, this movie makes it clear that a wealthy white family’s decision to adopt a homeless black teenager was not an impulse but was strongly grounded in a deep religious conviction.
2. The Friendly Persuasion is a rare movie that grapples with a loving family’s challenges in applying religious principles to difficult and complicated circumstances but with a supportive community. It is an even rarer movie that shows a character praying for guidance.
3. The Sound of Music a postulate brings not just music and warmth to a motherless family, but also the strength of her faith.
4. Fiddler on the Roof We see the family’s connection to their Jewish traditions and faith and to each other in the way they work to apply God’s laws and in their Sabbath rituals.
5. Not Easily Broken A young couple finds that it takes three to make their marriage work — the husband, the wife, and God.
“The Eclipse” is a ghost story for grown-ups, which means that it is story first, ghost second. It is an Irish film about Michael (Ciarán Hinds) a recent widower with two children, who is volunteering at a local literary festival. Two of the festival guests are the arrogant, self-centered Nicholas (Aidan Quinn), a novelist, and the sensitive Lena (Iben Hjejle), author of a popular non-fiction book about ghosts.
I spoke to Hinds and writer/director Conor McPherson about the film.
What do people ask you most about the film?
CM: They want to know exactly what was going on, to answer the questions the movie leaves unanswered.
Yes, Americans are very concrete, very literal. We want everything explained.
CM: When people are out of their comfort zone, it’s more dramatic, more prone to have more entertaining experiences, get into fights. That’s the dramatic instinct, to move people out of what they know and make them deal with it. In theater it’s all through dialogue in traditional plays. In movies, it’s so lovely, you can show him putting dishes in the dishwasher and everybody just knows what’s going on, that his wife is gone and he has to do everything. You still tell some things with dialogue in scenes but we’ve taken some away…
CH: Pared it away, really.
CM: And that’s enough. Film has that magic.
You play a quiet person in this film. How do you as an actor convey all you have to about what he is thinking and experiencing?
CH: He’s just a guy like anybody. We’re all ordinary in a way. We can all be hurt. We can all be unbalanced. We all have feelings. Life can treat us harshly, even shockingly sometimes. He has minor pretensions but he is a woodwork teacher. He works with his hands. He is a practical man. But though he is doing his best with his wife gone he is out of his depth a bit apart from the grief. He’s a real person but you bring elements of emotion to a heightened situation. He just wants to survive and take care.
I loved his interaction with his kids. It felt very real. The frustration and the need to convey a sense that he is in control.
CH: When Lena says she is sorry to hear about his wife he responds, “It was terrible for the kids.” He knows he hasn’t grieved enough but he has to keep a lid on it for the kids. In the end, in the story, he is allowed to let it all out and properly to grieve.
Do you find that now, like Lena in the film, people want to come and tell you their own ghost stories?
CM: At the first screening last April in New York, it turned into a sort of heavy session with people talking about how they lost people and the film made that feeling come back. It’s probably the last thing you think about when you’re making a film is other people’s problems. You’re thinking about your problem, which is making the movie. But you do have a responsibility. You can’t mess around with people’s emotions.
CH: You find people genuinely relating to something or a truth they felt, and that is what you aspire to.
Do you believe in ghosts?
CM: Yes I do, but I don’t know what they are. I don’t think I’ve ever seen one. But if someone said to me, “Last night I saw the ghost of my sibling” or whatever, I wouldn’t say, “That’s impossible,” I’d say, “What was that like?”
CH: I don’t disbelieve.
CM: There’s a very old tradition in Ireland, and as an island at the edge of Europe, for thousands of years with no one knowing what was beyond there, I wonder if a sense of the beyond was internalized into the Irish psyche. We’re very quick to accept the supernatural. And I think Catholicism took root very quickly in Ireland because it’s a very superstitious religion, the holy ghost, the holy spirit, it has a goddess, very visual, the music. For me, philosophically, we don’t know anything anyway. We have this short little life we have to somehow try to get a grip on without understanding anything about the nature of time or existence or the universe or God or infinity. We’re just here for a brief moment and we open up these little eyes and go “What is this?” and then we’re gone! I love stories that frame that: This is what life is about — you don’t have a clue.
Dean DeBlois and Chris Sanders are the writer-directors behind one of the best family films of the year, “How to Train Your Dragon.” It was a very great pleasure to talk with them about adapting the popular books and the movies they love most.
One of the great pleasures of this film is the fabulously imaginative assortment of dragons. Were they based on research into legends about dragons or did you start from scratch?
DD: The well-spring of the dragons who are in the film started in the book, of course, but really it was Nico Marlet, who also did designs for Kung Fu Panda. We have seven dragons in the movie, five of which are his designs. He has piles of drawings in his room, no kidding, about two feet thick of other dragons that he drew. It’s endless. We realized we had an opportunity in this movie to do something that had not been done before — not just multiple breeds of dragons but individual personalities.
Each new dragon turned all my thoughts on what a dragon was upside down.
DD: Each of them was based on animals we recognize in the animal kingdom. For example the gronkles, the big, fat, dump-truck-like dragon, was based on the walrus and has walrus-type behavior, lying around in packs and being lazy and grumpy. And then the nadders, the blue ones with the yellow spikes, they’re very parrot-like, and they have bird-like actions. Toothless is very feline. But he has dog in him, too. He’s based in part on the black panther, so he has mammalian qualities to him. One of the characters has two heads and is very snake-like and slithery. So every one of them had an animal reference to it, and that influenced its behavior both in personality and movement.
Did you have to think about the physics of the way they moved?
CS: There are links to the larger world that we wanted to create for this film. The believability factor was the most important thing. They have to move and breathe as if they’re really alive. It’s important that they not come across as too cartoony because then we would lose the emotional weight in the film. We wanted people to really believe in this world. Even though the designs are really fanciful, they move and breathe as though they’re really alive. They adhere to a strict set of rules. They never break or shatter that illusion.
The voice talent is terrific. But your Vikings (Gerard Butler and Craig Ferguson) have Scottish accents!
DD: It’s a conceit. It’s silly and admittedly flawed, but here it is: growing up in North America, I was in Canada, I had a lot of friends whose parents sounded like they came from somewhere else. There’s always a remnant of the mother tongue in the older generation. When we came on the film, they’d already cast people with very American voices and then they had Gerard Butler. We had to cast someone to be Gerard’s best friend and the confidante to Hiccup. We thought, we’ve already got this Scottish voice in place, and we could just flesh out the rest of the older generation with Scottish accents and then the next generation could have their own assimilated accent.
CS: Gerard really loved it when we encouraged him to be himself. The only casting that we did was Craig Ferguson and he happens to be Gerard’s really good friend and they happen to have the same accent. Craig Ferguson is completely at ease in front of a microphone. It’s funny because Gerard Butler is really funny off-mic, constantly goofing around and talking about pranks, amusing himself. And then when he’s on mic, well, his character is called Stoick. He was a little jealous — “Why is Craig getting all the funny lines?” But Craig, off-mic, was the opposite. He’s so funny when you have the mic running, and then when you stop, he’s actually a serious guy.
I was also thrilled to see that you have three disabled characters. You rarely see that in movies, especially disabled characters who have full personalities and experiences and are not just there to be disabled.
DD: Definitely we brought to the mix the ending, for many reasons. We wanted to give it a little bit of weight, believability, and peril. The satisfying quality of the ending would be generic if he did not come out of it so that he and Toothless can complete each other.
How did you go about adapting the book? You made some big changes.
CS: The main reason Dean and I were asked to come into the film was to “age it up,” giving it a little more weight, more adventure, and one of the very first decisions we made was that in the book there were elements of humans and dragons being in a symbiotic relationship but also elements of humans and dragons being at war. We decided it had to be one or the other. We made the decision that they were mortal enemies, which made it possible for Hiccup to take the greatest risk possible by befriending one. It allowed us to have Hiccup live this double life in the second act. At night he’s repairing a dragon and learning to ride a dragon. By day he is learning to fight one. This is not going to last. This has to get discovered. Everything else came from that.
DD: It’s fun that by the end he gets everything he wanted but he no longer wants it. The attention he’d rather avoid by then.
What movies are your favorites?
CS: Both of us are huge fans of a movie we referenced in this one, The Black Stallion. The scene on the beach is our homage.
DD: What really worked for us was the young protagonist. I love characters that are young and relatable in their childhood but also have adult qualities and are in over their heads in a world of fantasy, like “Escape from Witch Mountain,” “Watcher in the Woods,” and even “E.T.”
The movie is very rich, very exciting, but also exceptionally well-paced and satisfying.
CS: A lot of movies do not have much in the second act, but we really had one packed with events. But it is also important to have moments when the characters are quiet. There are three moments in the film where we let the camera and the acting and the music tell the story.
I liked the fact that he is really an engineer, a problem-solver. And he doesn’t get it right away.
DD: In the concept of the book Hiccup was much younger and they collect eggs and teach the dragons to do tricks. We kept the spirit of the runt Viking who changes the world but we had to give him a dragon who could be ferocious and at the same time cuddly. We thought he’s a nuisance, he’s the bane of the Viking community. He is made an apprentice to get him out of the way but in the shop he learns to compensate for what he doesn’t have. We combined this organic form with early mechanics.
CS: He also discovers that he has to operate it. He is only really himself when they’re together.