The Wasp is finally making its way to theaters nationwide after a successful run on the festival circuit, and audiences aren’t prepared for the cinematic feast that awaits them. Spanish filmmaker Guillem Morales directed the project from a screenplay by Morgan Lloyd Malcolm, who adapted her stage play for the screen with aplomb. The story follows a troubled woman named Heather (played by Naomie Harris) whose unhappy marriage leads her to seek out an estranged childhood friend, Carla (played by Natalie Dormer of Game of Thrones fame).
Rather than seeking to reminisce or recapture her youth, however, Heather’s reconciliation with Carla is focused on creating a future without her husband Simon in it. Dominic Allburn and Jack Morris also star in The Wasp as the two women’s husbands, but it is the complicated layers of friendship and betrayal that demand the viewer’s attention. The movie is a powerfully crafted thriller that forces audiences to question truth, perception, and the past while still sympathizing with both women’s motivations.
Screen Rant interviewed Morales about what first sparked his interest in The Wasp and his excitement at the prospect of working with both Harris and Dormer. The talented director further explained how he approached the fascinating characters at the heart of the story, and why he wanted to explore flashbacks in a less traditional way.
The Wasp’s Strength Lies In Its Leading Ladies’ Talent – And A Script That Lets Them Play
“They can do things that wouldn’t be possible with two male characters.”
Screen Rant: Naomie Harris is so amazing really carries the movie. How did that collaboration come about? Was she already part of it when you joined, or did you reach out to her?
Guillem Morales: She was there. One of the producers, Sean Sorenson, sent me the script and said, “Oh, you’re going to love this.” And he was absolutely right, because I read it and immediately said, “I want to make this film.”
I think if I remember properly, Naomie was there already there, or she was interested in the script and in playing Heather, because she had been working with the producer before. Then we talked about with the other producers, and I said, “Naomie likes this, and it would be amazing [to work with her].” We had a Zoom, and we got on well, and there you go. That was kind of the start.
Then we needed another actress, and that was the journey to get to Natalie.
Speaking of Natalie, I know her from Game of Thrones, Elementary, and The Tudors. This is a very different role for her, so what made her right for Carla?
Guillem Morales: I was a big fan of her work, and she was available for the dates. When I heard she could do it, I thought, “Oh, my God. She will be amazing.” It was great, and we had a very good connection.
One of the films I made, Julia’s Eyes, was one of her visual references for a film that she made about a blind woman [called In Darkness]. I didn’t know that at the time, but the connection made sense.
Those two wonderful actresses had the chance to do different roles that they hadn’t done before, so that was very exciting and challenging.
What is the first thing that you look for in a script? Specifically with The Wasp, what really stood out to you when reading it?
Guillem Morales: I think it’s that The Wasp explores something we’ve never seen before. I think it’s due to the fact that its two female characters can reflect, they can think, they can express, they can elaborate, and they can do things that wouldn’t be possible with two male characters.
That was something that stood out from Morgan’s text and the script. It was like, “Okay, I haven’t seen that.”
The Wasp Is All About Perception Of Both The Past & Present
“The power dynamics between them changes, and the relationship keeps shifting.”
As a director, what kind of conversations do you have with each actor, given that so much of the story is based on their perception of what has happened in the past?
Guillem Morales: I’m the kind of director who listens to actors. What I like to do the most is meet the actors and see if they have something to say about the characters. I listen to them first, and then I start a conversation about the characters, what I think is important about them, and what I think worries me. Something starts happening, and we start shaping the characters, which is the most important thing in a film.
The characterization is really what powers so many of these twists and turns that keep the audience on their toes. How do you make sure the suspense remains present while keeping the motivation believable?
Guillem Morales: First, they’re amazing actresses. We’re talking about two actresses at the top of their game, and it’s a two-hander. Morgan’s text is very clever, and it seems almost like a Harold Pinter play. Those kinds of characters are very intriguing because you don’t know what they’re hiding. The power dynamics between them changes, and the relationship keeps shifting.
It’s in the text, which is so well written that there is a path for an actor or director to easily follow. It’s just gathering all the hints that you need to make it believable. And with those amazing actors, it’s kind of a dream, isn’t it?
Did the story evolve from Morgan’s original script at all after you came on board?
Guillem Morales: Oh, God. There were some changes. There were more flashbacks, so I just removed some of them because I don’t like flashbacks in general. There were some flashbacks that were not so important, so I helped shape that.
Then I had some ideas, like the nest with all the wasps in the kitchen. That was my idea. It’s a collaboration, which is great and is what it has to be. This is a collaboration with the screenwriter, with the producers, with the actors, and with my head of departments – and that is what I enjoy the most. All of us are shaping the story and trying new ideas.
Flashbacks Are A Key Ingredient In The Wasp, But Guillem Morales Doesn’t Like Them
“How can I do this in different way? There must be something more creative to do here.”
Screen Rant: I find it interesting that you said that you don’t like flashbacks in general because the flashbacks inform so much of Heather’s motivations. What was most important for you when filming those scenes, and what led to the particular casting of the younger versions of them?
Guillem Morales: I don’t like flashbacks, and I don’t know why. It’s just something about me as a director; there’s nothing wrong with flashbacks, it’s me. So, I was thinking, “How can I do this in different way? There must be something more creative to do here.”
Then I started thinking that Heather lives more in the past, and Carla lives more in the future, but neither of them lives in the present. And then everything started making sense, so I said, “The past is very important for Heather.” There are flashbacks, and then something can happen between the flashbacks that’s like a transmission or a connection. I found that idea more interesting.
For the little kids, we were trying to find someone who had kind of a resemblance through just a process of auditioning girls. And when I put those two girls in the same room, that was just great. That was amazing. I said, “Okay, those are the girls,” and they were very pleased.
Dominic has a difficult role in that our knowledge of Simon is purposely obscured throughout, so we only get other people’s perspectives on him. How do you direct him in that kind of role?
Guillem Morales: I met him before the first scene, and we had a conversation. We had time to have a conversation, so it was not immediately like, “Okay, you are going to do this action,” because it’s important to have conversations. We talked about the character, and we talked about things that we will never see but that he had to know as an actor to play Simon. And that was it.
Final question, which could potentially be a spoiler. Was there one scene that stood out to you most, as either the most challenging for you to film or that you were proudest of after filming?
Guillem Morales: Well, there was a difficult scene for the girls. I think that we did a very good job, and it was very well handled by everyone. I feel proud of it and the girls feel proud as well.
More About The Wasp (2024)
In this tense, twist-filled psychological thriller, Naomie Harris and Natalie Dormer deliver captivating performances as two estranged friends who reunite over tea, only to unveil a dangerous and deceptive plot that will irrevocably alter their lives.
The Wasp
arrives in theaters on August 30.
Check out our other interview here: