We recently reviewed a fascinating film entitled THE CLEANING LADY that was released on VOD and DVD. Today we speak with the star and co-writer of the film Alexis Kendra. The affable actor turned filmmaker shares with us how THE CLEANING LADY came into existence. After originally being a short the story got the feature length treatment and Kendra was given more time to explore the bizarre story of a soft-spoke, disfigured woman who develops a disturbing obsession with her new boss.
The film is co-written and produced by Kendra giving a very clear, feminine voice to the story. We wanted to talk to her about where the ideas, some of them pretty brutal, came from and what inspired her to create this story. We also wanted to discuss filmmaking and her advice to other up and coming actors and filmmakers trying to make their way in Hollywood.
HorrorBuzz: This actually originated as a short. What was the genesis of the film
Alexis Kendra: Well when you write you write what you know. When I was a young girl I knew a girl named Shelly. She and I would hangout and I would teach her how to put makeup on. She wasn’t one of the “cool Kids” but I brought her in I was like, “forget everybody you are cool to me,” and we would hang out. The other kids were so mean to her but I was cool. She had some boundary issues and she started showing up without asking. I remember thinking “Oh no, I was nice to this person and now she won’t leave.” It was really tricky at that age. I mean, I was fine with her being there but my other friends were being weird and, I didn’t know what to do. I mean I was always nice and I never told her to leave but, you know. I just remember that it was uncomfortable. I was 11 years old and I just felt, “This is weird.”
Then Jon (The co-writer and director) had a situation one time where he dropped someone off that he worked with at a movie theater in Canada and they were driving in the woods and the guy was like, “Yeah just stop right here.” and the guy got out and just walked into the woods. The guy got out of the car and walked into the woods and there you go. It was like “What the heck?” Like this man walked into the woods. that’s where his house was.
HB: He just disappeared into the forest?
AK: No, he said “Hey Jon, Please stop I live here, I’ll get out here.” Jon was like, “This is the woods.” and the guy was like, “Yeah.” and the guy got out and walked into the forest. Totally true story.
So Jon had that story and I had the Shelly story and we put our heads together and we crafted a twisted psychological tale of obsession with those elements in place.
HB: In the original short film you played Shelly but in the feature you switch roles and play Alice, the object of Shelly’s obsession. Can you tell me about the perspectives of the two characters?
AK: When I played Shelly, what I learned when playing a villain of that character, I knew who she was, I knew where she came from, I felt very sad for her. She was this recluse that lived in the woods and had nothing. Playing her, I really just would look at Alice as this beauty that has the perfect looks and things that Shelly could never have.
Now, playing Alice, it was interesting because I had a fun time diving into her addictive personality. She was a love addict. She was in a 12-step program to stop seeing a married man. That is what I hooked onto. I like flaws. I liked playing a woman like that in that support group who looks like she has it all, but is also in pain.
You are looking at these two women that are in pain. They are just gonna act it out in different ways.
HB: Despite the outer appearances both were full of imperfections.
AK: Yeah, I would be like “What? Perfect protagonist? KILL HER!”
HB: What were some of the films that influenced The Cleaning Lady?
AK: Oh well, Single White Female of course. I love foreign horror. What I think that is so much stronger in foreign horror as opposed to more commercial horror is character development. I mean, we tried to make the movie as commercially appealing as possible, but I like it when you get to know these people and then you mess them up. Audition, Martyrs, Irreversible, although that’s not horror, it’s horror enough.
HB: As an indie horror female filmmaker did you face any particular challenges or advantages on this project?
AK: I think because I was the producer I wasn’t really worried because, I mean, I’m the boss. But I think that if I were to walk onto another set in a lower position I could see how that would create some problems. Really I am interested in an industry where I can make my own life, my own destiny. I came from the acting world so yes, I have dealt with the flirting at auditions or whatever I was never taking seriously. But you show up on set with a cowboy hat as a producer, nobody messes with you. Because of that, and because I am a writer, I get to write and play the lead in the film. I never would have been able to land that role otherwise because I’m not a name.
I always tell actresses to become writers, become filmmakers, write your own script it’s not that hard, you can find investors, make it on a tiny budget, just MAKE FILM. Just do it, make a movie. The more you make, the more respect you will get at festivals and things. Write a role that you can play. Write your dream role.
