Rose Byrne's greatest technical challenge? 'Peter Rabbit'

Director of the movie Will Gluck (R) and cast members (L-R) Elizabeth Debicki, Margot Robbie, James Corden, Rose Byrne and Domhnall Gleeson pose during a photo call for “Peter Rabbit” in West Hollywood. (Reuters)
Updated 09 February 2018
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Rose Byrne's greatest technical challenge? 'Peter Rabbit'

LOS ANGELES: Rose Byrne has done nearly every type of film — physical comedy ("Bridesmaids," ''Neighbors"), horror ("Insidious"), sci-fi ("Sunshine"), period ("Marie Antoinette"), action ("Troy"), musical ("Annie") and superhero ("X-Men: First Class") — so it might come as a surprise that she met her technical match on "Peter Rabbit."
"I've never done anything this technical!" Byrne says of the film, now playing in theaters. "It's such a production with the CGI. It's just like a guy in a blue suit. It's kind of a surreal and strange. You have to dig deep in your imagination."
Byrne plays Bea in this modern day spin on author and illustrator Beatrix Potter's mischievous rabbit and Mr. McGregor's garden from writer-director Will Gluck ("Easy A," ''Annie"). In the film Bea is an artist who illustrates the rabbits (voiced by the likes of James Corden, Margot Robbie, Daisy Ridley and Elizabeth Debicki) in her backyard and often saves them from the cranky Mr. McGregor (Sam Neill). Things take a turn, however, when old Mr. McGregor dies and his nephew (Domnhall Gleeson) comes to town. Although he's none too happy about the destructive bunnies, he and Bea also start to fall for each other.
"Rose has a very hard part in this movie," Gluck said. "She has to be very funny, she has to be very emotional, she has to be very doting on the rabbits yet I was very conscious, as I am in all my movies, not to make her just a prop. She can't just be there in support of the rabbits or in support of Mr. McGregor. She had to have her own thing and Rose is just a force of nature. You believe everything she does whether it's funny, emotional, sad, goofy or pathetic. And she can't be perfect either."
While the process of capturing the rabbit and human interaction was slow and sometimes tedious in the filming, the result is a seamless blend of technology and reality, with physical comedy and cuteness for the kids and a pretty decent rom-com for the parents. Plus, Gluck shot the film in Australia, which meant work was only 10 minutes from Byrne's home and her parents, who could help watch her young son Rocco while she was on set.
Byrne, 38, and her partner actor Bobby Cannavale, 47, just recently welcomed another son, Rafa, in November — and as any working parent of two children under two would be, she's pretty tired and she's not slowing down her output. She recently stopped over at the Sundance Film Festival to debut her new indie "Juliet, Naked" a rom-com based on the Nick Hornby novel in which she stars in alongside Ethan Hawke and Chris O'Dowd and soon will be gearing up to start production on the adoption comedy "Instant Family" with Mark Wahlberg.
She's also started a production company with some of her female friends in Australia. They're currently working on a project about a Dolly Parton impersonator who fulfills her dream and then has an identity crisis and wants to be taken seriously.
"There is a whole kind of movement in general in the business with female empowerment and female bravery," Byrne said. "It feels like the walls are coming down finally. And I hope we see results in terms of actual films being made and people being removed from power who shouldn't be there. It's exciting and a watershed moment."
One of the casualties of the #MeToo moment involved a film that Byrne co-starred in — Louis C.K.'s "I Love You Daddy" which was pulled from release at the last minute after the comedian and director was accused of sexual misconduct last fall.
"I stand in total solidarity with the women who came forward. It's so brave to do that. I have no idea how hard that would be," she said. "And I'm disappointed and shocked that it all came to that. I haven't seen the film but I've spoken to Chloe Grace Moretz and I think we all felt really sad about it ... I'm huge fan of Louis and wanted to be part of it as an actress and then not knowing the stuff going on behind the scenes. It's a real shame."
Byrne does see hope for change, though, and points to the set of "Neighbors" and its sequel for a film that had a primarily male cast and crew, and was a raunchy comedy at that, as a good example of how to create a safe and inviting and even fun atmosphere for women on set. She credits Seth Rogen (who starred and produced) and director Nick Stoller for setting a "normal" tone.
"The answer is it comes from the top: Who's directing and who's producing, they are steering the ship. They set the tone at the workplace," she said. "They have to be held accountable."


Manganiyar musical experience connects Saudi Arabia with ancient India

Ithra takes visitors to the magical world of Manganiyar, an Indian folk music, in Dhahran on Wednesday. (Photo/Supplied)
Updated 17 November 2018
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Manganiyar musical experience connects Saudi Arabia with ancient India

  • There were challenges, Abel said. “As an ‘intruder’ going to the Manganiyar not knowing fully what this kind of art is, in the beginning I had to learn so many things and try to understand the musicians and help them to understand me”

DHAHRAN: The King Abdul Aziz Center for World Culture (Ithra) in Dhahran has been transporting its visitors to the magical world of the Manganiyar from Nov. 14-17. The Manganiyar is a timeless Indian orchestra originally born in the region of Rajasthan in north India, which has continued over many generations.
The basic song on which the show is based comes from a poem by the 17th-century Sufi poet, Bulleh Shah. The resulting folk music is an audio-visual feast that mixes light and voice and features more than 40 musicians in one performance.
The first Manganiyar show in Ithra was sold out.
“It was the first time in my life that inspiration dawned on me; it was like a heavenly gift,” Roysten Abel, the director of the musical show, told Arab News when he was asked how the band started their touring and performance journey.
“I was in Spain working as a street performer. One day I was resting and I heard wonderful music, which I thought was a dream. Then I realized that there were two musicians outside my room singing to wake me up. I then proposed the idea of forming this Manganiyar band,” Abel said.
Abel went to the Manganiyar’s hometown to create the band.
“I went to Rajasthan, auditioned almost 200 musicians and finally selected 50 to have our first show in 2006. Since then, if I ever listen to an old Manganiyar musician or a new one, I still weep because they haunt me with their singing.”
There were challenges, Abel said. “As an ‘intruder’ going to the Manganiyar not knowing fully what this kind of art is, in the beginning I had to learn so many things and try to understand the musicians and help them to understand me.”
Creating the performance and the harmony between the band members and the director took time.
“The musicians needed to know what this guy who is coming from outside wants? What is he going to make us do? Building the relationship took around a year and a half, and so it took us year and a half to build up the show.”
“I always say the Manganiyar selection was God’s gift to us because it was actually given to us and it runs on its own.”
Abel said that the Manganiyar show always sells out anywhere it goes due the experience it offers. “There has not been one show where we have not received a standing ovation.”
“We even performed in Hyde Park, Sydney, where nobody knew what to expect,” Abel said. “There were a good 10,000 people in the park, and when the show was over these 10,000 started clapping and even stayed for the second performance!”
Abel shared the band’s insights about their first visit to Saudi Arabia: “We were very curious to see how it was going to be received, but it turned out to be one of the best performances and the audience was thrilled. So, there’s always a lot of surprises and I tend to never expect. I just love to see what happens.”
Abel urged everyone to turn up and have their own experience of the Manganiyar. “People should all come and tell their friends to come, and live the show, because at the end of the day the show is not like any other music concert; it’s an experience of its own.”
Abel said that people’s responses to the show varied; some left in tears while others “jumped with joy.”
What matters to him, he said, is that people get the essence behind the show, which is love.