{"id":2189,"date":"2026-06-20T20:06:13","date_gmt":"2026-06-20T20:06:13","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=2189"},"modified":"2026-06-20T20:06:13","modified_gmt":"2026-06-20T20:06:13","slug":"rebecca-hall-on-finding-a-new-frequency-with-the-listeners-and-whether-onslaught-is-a-stealth-the-guest-sequel","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=2189","title":{"rendered":"Rebecca Hall on Finding a New Frequency with \u2018The Listeners\u2019 and Whether \u2018Onslaught\u2019 Is a Stealth \u2018The Guest\u2019 Sequel"},"content":{"rendered":"
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\nRebecca Hall has done a staggering amount of work since her miniseries The Listeners <\/em>first aired overseas at the end of 2024. But once you watch her latest towering performance in director Janicza Bravo\u2019s five-part miniseries that premiered June 12 on Starz, you\u2019ll quickly understand why the English actor didn\u2019t want to let her two-plus-year-old turn fall by the wayside.\u00a0<\/p>\n

Read more \u2018Toy Story 5\u2019 Headed to $160M for Biggest Opening of 2026<\/a><\/p>\n

\n\tIn Jordan Tannahill\u2019s adaptation of his own novel, Hall plays an English teacher named Claire whose personal and professional life is turned upside down when she suddenly hears a steady humming noise. She alienates her family, friends and colleagues in her desperate search for answers, and Hall went as far as to wear an earpiece that fed her various types of hums so that she could experience the character\u2019s vulnerable state of mind.<\/p>\n

\n\t\u201cWe had lots of different versions that [director] Janciza [Bravo] would cycle through on the day. There were times where I\u2019d be like, \u2018Give me the really aggressive, painful one. Give me the gentle, low-key one,\u2019\u201d Hall tells The Hollywood Reporter<\/em>. \u201cSometimes, it was just impractical because I couldn\u2019t concentrate on anything else, which I guess was the point.\u201d<\/p>\n

\n\tA persistent, low-frequency hum is a real phenomenon that people have attributed to either external or internal sources, and The Listeners<\/em> follows suit by not providing definitive answers to what afflicts Claire. Thus, it becomes a piece where you can insert any number of metaphors if you so desire, and Hall certainly has her own either\/or interpretation.<\/p>\n

\n\t\u201cI was just reading this article about all the data centers making noise. People are posting these videos of what the data center sounds like two miles down the way from them,\u201d Hall shares. \u201cSo there\u2019s a very real version of it, and then there\u2019s also this, How am I trusting myself and my perception versus what I\u2019m told I\u2019m perceiving?<\/em>\u201d<\/p>\n

\n\tHall just had two films premiere at the Cannes Film Festival, The Man I Love <\/em>and The End of It<\/em>, but she had to forgo the event due to the filming schedule of her zombie horror movie called Zero Protocol<\/em>. Mind you, she already shot a psychological horror film earlier this year called A Head Full of Ghosts<\/em>. On top of all that, she reunites with one of her oldest friends, Dan Stevens, for writer Simon Barrett and director Adam Wingard\u2019s Onslaught <\/em>this September. All four previously collaborated on 2024\u2019s Godzilla x Kong: The New Empire<\/em>.<\/p>\n

\n\tFor years, I, and many other journalists, have pressed Wingard, Barrett and Stevens for a sequel to their 2014 cult hit, The Guest<\/em>, but the brain trust have all put up a unified ambivalence to the idea of revisiting the world of their action-thriller. However, as soon as A24 released Onslaught<\/em>\u2019s official trailer, questions swirled as to whether it was a stealth sequel to The Guest<\/em>. After all, both films center on a secret military experiment that turns soldiers into enhanced killing machines, and Onslaught<\/em> also shot in New Mexico like The Guest <\/em>did back in 2013.<\/p>\n

\n\tHall confirms that she plays Onslaught<\/em>\u2019s German villain, but she seemingly rules out a potential connection to The Guest<\/em>. Or does she? \u201cIt\u2019s not really [a Guest <\/em>sequel], I don\u2019t think. It has elements,\u201d says Hall.<\/p>\n

\n\tBelow, during a conversation with THR<\/em>, Hall also discusses her exit from the Godzilla x Kong <\/em>franchise, as well as her guest appearance on The Studio <\/em>season one.<\/p>\n

\n***<\/strong><\/p>\n

\nIt\u2019s a busy time in the world of Rebecca Hall \u2014\u00a0so busy that you couldn\u2019t go to Cannes for your two movies, <\/strong>The Man I Love <\/em><\/strong>and <\/strong>The End of It<\/em><\/strong>.<\/strong><\/p>\n

\n\tYeah, I was filming another one called Zero Protocol<\/em>, so I couldn\u2019t go. It was unusual because you can usually work it out in the schedule to take three days off to go to Cannes. But I was making a movie where the story is in real time. It\u2019s the precise two hours of the film, and it\u2019s an entirely first-person subjective experience from my character\u2019s point of view. So they literally couldn\u2019t let me out for any amount of time. It was unfortunate, but it\u2019s a champagne problem.<\/p>\n

\nSo <\/strong>The Listeners<\/em><\/strong> \u2014\u00a0not to be confused with 2022\u2019s <\/strong>The Listener <\/em><\/strong>starring Tessa Thompson and you in a voice role \u2014\u00a0is just now reaching the States. It came out overseas in November 2024. Did the international markets have exclusive rights for x amount of time?\u00a0<\/strong><\/p>\n

\n\tYes, as far as I understand it, it was that sort of thing.<\/p>\n

\nJanicza Bravo directed all the episodes, and she\u2019s good friends with the aforementioned Tessa Thompson. Did Tessa play matchmaker between the two of you?<\/strong><\/p>\n

\n\tShe did introduce us, but that was probably a year or two before The<\/em> Listeners<\/em> came about. So it was a natural progression, and now Janicza is one of my closest friends since The<\/em> Listeners<\/em>.\u00a0<\/p>\n

\n\tI heard about the project, and being a huge fan of Janicza\u2019s, I knew her well enough to have her number in my phone. So I texted her to say, \u201cI heard you\u2019re doing this project. It sounds brilliant. I want to be a part of it.\u201d And it was very fortuitous because she wrote me back, saying, \u201cThat\u2019s very funny because I\u2019ve been thinking about you for months for this. We just hadn\u2019t got to the point where I could reach out and offer it to you yet.\u201d So it was all very fated in that sense.<\/p>\n

\nThe Listeners<\/em><\/strong> marks your fourth character named Claire, and Ruth Negga\u2019s character in your directorial debut, <\/strong>Passing<\/em><\/strong>, was also named Clare, minus the i.<\/strong><\/p>\n

\n\tIsn\u2019t that weird? Thank you for noticing.\u00a0<\/p>\n

\nClaire begins to hear a humming noise out of nowhere, and it quickly unravels her personal and professional life. Did anyone propose a more method approach by giving you an earpiece with an actual hum playing?\u00a0<\/strong><\/p>\n

\n\tYes, they did indeed, and I did indeed take them up on it. It wasn\u2019t always the most convenient, but I often used the little earwig piece. There were different versions of the hum because the final sound wasn\u2019t designed until much later. Devont\u00e9 Hynes, who did the music, also got involved in the hum because it came into the scoring. So we didn\u2019t have the actual hum that you hear on the show, but we had lots of different versions that Janciza would cycle through on the day. There were times where I\u2019d be like, \u201cGive me the really aggressive, painful one. Give me the gentle, low-key one.\u201d But sometimes, it was just impractical because I couldn\u2019t concentrate on anything else, which I guess was the point.<\/p>\n

\nAfter having the sound in your head all day, did it linger at all after work?<\/strong><\/p>\n

\n\tNo, I don\u2019t think so. I\u2019m pretty brutal about cutting things off at the end of the day. I will myself to not think about work at a certain point. You have to do that when you have a child as well. You\u2019ve got other things to think about at home.<\/p>\n

\n\tI found the notion of the hum, metaphorically, quite haunting. There\u2019s so many ways to interpret this piece of work, and that\u2019s part of what I found so appealing about it. It was quite destabilizing at times to think about it and think about what Claire\u2019s going through.<\/p>\n

\nI read that you\u2019ve previously maintained a character\u2019s voice in between takes, but overall, is it rare for you to do things that border on method?\u00a0<\/strong><\/p>\n

\n\tNo, I do what I need to do to believe that I am the person entirely. That doesn\u2019t mean that I can\u2019t stop doing it when the camera\u2019s not rolling. That\u2019s the difference. There\u2019s a bit of a misconception about what method is. It assumes that if you\u2019re not doing method, then you\u2019re not really fully believing that you are the person when you\u2019re acting. But you are, and you\u2019ll do whatever it takes. There are some things that are easier to do, and I do them, whether it\u2019s the earwig or doing jumping jacks directly before a scene where you are supposed to be out of breath. It\u2019s the same logic. I don\u2019t necessarily subscribe to a school of acting, per se, but how people perceive method acting has been distilled in lots of different ways that aren\u2019t what it was originally about.<\/p>\n

\nThe hum is a real phenomenon.\u00a0<\/strong><\/p>\n

\n\tIt is.\u00a0<\/p>\n

\nThe show does offer some form of a scientific explanation, but it\u2019s still open to interpretation despite that explanation.\u00a0<\/strong><\/p>\n

\n\tYes.<\/p>\n

\nAs you said, the hum can take on a whole series of metaphors, so how did you ultimately define it?<\/strong><\/p>\n

\n\tWell, I had to define it [during filming] as Claire would define it. If I\u2019m defining it intellectually as Rebecca, I look at it as a piece that rather brilliantly manages to narrativize how beliefs are made in isolation. That\u2019s the only way I can think of it, really. You have a woman who is going through an experience that is very hard to believe to those around her. And yet, for her, it\u2019s real. So how do we all check our reality? And if we\u2019re living in this increasingly isolated way where our reality doesn\u2019t match up with someone else\u2019s reality, then how do you break out of that? That\u2019s what becomes most potent about it, actually. And that makes it, quietly, a political piece in a funny way.<\/p>\n

\n\tI was just reading this article about all the data centers making noise. People are posting these videos of what the data center sounds like two miles down the way from them. So there\u2019s a very real version of it, and then there\u2019s also this, What am I open to that someone else might not be open to? How am I trusting myself and my perception versus what I\u2019m told I\u2019m perceiving?<\/em><\/p>\n

\nAssuming you draw on your real life, did you have any comparable experiences where you felt like you perceived or sensed something that very few people could?\u00a0<\/strong><\/p>\n

\n\tI think we\u2019ve all had some version of that, haven\u2019t we? We\u2019ve all been around someone who discredits us or \u2014\u00a0to use that really overused word \u2014\u00a0gaslights<\/em> us in some way. I was drawing on versions of that. I\u2019ve also had those moments where the world looks one way, and then something happens suddenly to where everything in your orbit looks completely different. When those moments happen in life, they can be very intangible and strange. It can be something as simple as being jet-lagged, or it can be something more meaningful like experiencing a huge loss. The world is then completely reordered, and you realize that how the world looks today is not a given, tomorrow.\u00a0<\/p>\n

\nI won\u2019t explain the context, but you do something toward the end that I haven\u2019t seen before in this fashion. You laughed and sobbed at the same time. I wish I had a better question to ask here, but how did you do that?\u00a0<\/strong>\n<\/p>\n

\n\tI don\u2019t know. Honestly, I don\u2019t think I set out to do that. I didn\u2019t think it would be a good idea ahead of time or rehearse it in the mirror or anything like that. It either happens, or it doesn\u2019t. That\u2019s just how I work. Acting is more instinctive than I even realize. There\u2019s a lot that\u2019s weird about it, and I really don\u2019t know what I\u2019m going to do.\u00a0<\/p>\n

Read more Sold Out in Seconds: How Kendall Jenner, Ros\u00e9 and MrBeast Create Consumer Obsessions<\/a><\/p>\n

\n\tTo go back to the method subject, I am probably more method than I realize. I just believe that what is happening to the character is happening to me, and whatever happens, happens within the scope of the lines and the story. But I don\u2019t really know what\u2019s going to happen in terms of the minutia of my face or what I feel at any given moment. Every actor hopes to feel what the character is going through so it\u2019s authentic.<\/p>\n

\nShifting gears, most behind-the-scenes photos include a still of the director pointing at something in the distance.\u00a0<\/strong><\/p>\n

\n\t(Hall gives a knowing laugh<\/em>.)<\/p>\n

\nFor <\/strong>Godzilla x Kong: The New Empire<\/em><\/strong> (2024), there\u2019s one of Dan Stevens and director Adam Wingard both pointing in the distance, and you\u2019re in the background cracking up. They were making fun of the behind-the-scenes photo, right?<\/strong><\/p>\n

\n\tYes, 100 percent. I might\u2019ve even dared them to do it. I might have said, \u201cThey\u2019re doing behind-the-scenes photos. Adam, you should be pointing into the middle distance and looking like a director. What are you doing?\u201d And then everybody did it.<\/p>\n

\nDan joined <\/strong>New Empire<\/em><\/strong> mainly because you and Adam, two of his dear friends, were already a part of the franchise, beginning with <\/strong>Godzilla vs. Kong<\/em><\/strong> (2021). But now he\u2019s the only one left on the next movie, <\/strong>Godzilla x Kong: Supernova<\/em><\/strong>. What\u2019s the story there?<\/strong>\n<\/p>\n

\n\tHe\u2019s been excommunicated. We don\u2019t speak to him anymore. (Laughs<\/em>.) No, he was the newbie [on New Empire<\/em>], so I think his contract was just longer than ours were at that point.<\/p>\n

\nHowever, all three of you reunited on <\/strong>Onslaught<\/em><\/strong>, which just released its first trailer for a September release. Considering both films have a military experiment that turns soldiers into programmable killing machines, a New Mexico shooting location and the same creative brain trust of Adam, [co-writer] Simon [Barrett] and Dan, Onslaught<\/em> sure smells like a stealth sequel to The Guest<\/em>. What say you?\u00a0<\/strong><\/p>\n

\n\tI say nothing. It\u2019s not really, I don\u2019t think. It has elements.<\/p>\n

\nDid I hear a German accent?<\/strong><\/p>\n

\n\tYes, you did indeed. Dan is also doing a German accent in it.\u00a0<\/p>\n

\nYeah, that\u2019s the one thing that really throws a wrench into the <\/strong>Guest 2<\/em><\/strong> theory.<\/strong><\/p>\n

\n\tNo comment.\u00a0<\/p>\n

\nHave you seen a cut yet?<\/strong><\/p>\n

\n\tI haven\u2019t seen a cut, but I\u2019m really excited about it because it definitely opens a door for me to enter my villain era. I had a lot of fun.<\/p>\n

\nYou were among the few notable guest stars who played a character on <\/strong>The Studio<\/em><\/strong> season one and not a version of yourself. Were you given a preference?<\/strong><\/p>\n

\n\tNo, I wasn\u2019t given a preference, but I think they had the good sense to know that I probably would\u2019ve preferred to do that than play myself. I still would\u2019ve done either. But I thought the particular storyline \u2014\u00a0a pediatric oncologist who\u2019s dating a studio head \u2014\u00a0was conceptually a very funny idea, and I was very into it for all the reasons that became obvious.\u00a0<\/p>\n

\nSeth Rogen\u2019s studio head character kept trying to argue to a room full of doctors that moviemaking was just as important as medicine. Have you ever been in that situation where you felt a tension between different occupations?<\/strong><\/p>\n

\n\tA long time ago, I was researching to play a barrister in a movie called Closed<\/em> Circuit<\/em>, and I hung out with some human rights lawyers for a while. It got so interesting hanging out with these people that it far superseded any needs I had for research. They just allowed me to continue to watch and follow certain cases. But I remember realizing at a certain point that all of them were interested in acting in the courtroom. There\u2019s this crossover, in a way, between performance and giving a closing argument.<\/p>\n

\n\tI really enjoyed being a lawyer for three months, and I remember one of them saying to me, \u201cWell, if the acting goes wrong, you can always be a lawyer.\u201d Then I asked all of them, \u201cWould you want to be an actor?\u201d And all of them were like, \u201cYes, we all wanted to be an actor at some point.\u201d But at the same time, they were like, \u201cBut what we do is obviously much more serious,\u201d which it is. (Laughs<\/em>.) So that interaction was the closest I\u2019ve come to experiencing that predicament on The Studio<\/em>.<\/p>\n

\nMy dad has a pet peeve that he\u2019s passed on to me, and it\u2019s when someone delivers a drink by holding the rim of the glass with their fingertips. Thus, your mouth ends up touching where their fingertips just were. So I\u2019m always mindful of drink acting in scenes, and Seth\u2019s character hands a cappuccino to your character after his thumb was submerged in the cappuccino liquid itself. Did you ever notice this?\u00a0<\/strong>\n<\/p>\n

\n\t(Laughs<\/em>.) No, I didn\u2019t. I\u2019m really grateful I did not, because I definitely would\u2019ve felt a little icked out by that. You\u2019re right.<\/p>\n

\nThe oners\/long takes make that show very difficult to shoot. So I wonder if they noticed it, but let it go because the rest of the scene worked.\u00a0<\/strong><\/p>\n

\n\tYeah, I don\u2019t think they would ever reset a one-take scene because of a thumb in the cappuccino. But now that we\u2019re having this conversation, I might mention it.<\/p>\n

\nMid-walk, he catches himself on the cappuccino he gives you, but his other hand\u2019s thumb is still firmly submerged in his own cappuccino.\u00a0<\/strong><\/p>\n

\n\t\u201cFirmly submerged\u201d is a really disturbing phrase.\u00a0<\/p>\n

\nYou\u2019re right. I\u2019m really sorry if you can\u2019t unsee it from now on. What\u2019s up with director Rebecca Hall?<\/strong><\/p>\n

\n\tDirector Rebecca Hall has got three scripts that I\u2019m trying to get made. I don\u2019t know which one is going to go first, but one is likely to go next year. I\u2019ve been trying to get the next one off the ground ever since I directed Passing<\/em>. I\u2019ve got a particular taste, and it\u2019s not necessarily the most obvious on the page to finance. But things are changing, and things are happening.<\/p>\n

\nThe end of <\/strong>Passing<\/em><\/strong> leaves the audience wondering whether the fall was accidental or intentional. Does the book keep it equally ambiguous?\u00a0<\/strong><\/p>\n

\n\tIt\u2019s brilliantly done in the book. It actually pulls off a serious trick of making everybody responsible, including herself. I think all things are true: she was pushed, she jumped, she pushed her, he pushed her.<\/p>\n

\nWhat are the elevator pitches for your two Cannes films?\u00a0<\/strong><\/p>\n

\nThe Man I Love <\/em>is my second film with Ira Sachs. It has Rami Malek and Tom Sturridge; Rami plays my brother. It\u2019s set in the \u201980s in New York. It\u2019s about the life of a downtown artist performer and the meaningfulness of counterculture art. It\u2019s a world that feels very alien these days, but wonderful and fascinating.\u00a0<\/p>\n

\nThe End of It <\/em>is set in the future when death is optional, and nobody options it. I play a performance artist named Claire<\/em>, who was probably a Marina Abramovi\u0107 and an enfant terrible back in her day. But now she\u2019s 250, and the ennui has settled in: How the hell can you be a relevant artist at 250?<\/em> So she decides that she\u2019s had enough, and she\u2019s going to end it all. She wants to make her death her final piece of performance art and try to wake up a society that\u2019s utterly lost their mind because death is no longer a factor. It\u2019s a very ambitious and very darkly comedic wild ride.<\/p>\n

\nYears from now, when you reminisce about <\/strong>The Listeners, <\/em><\/strong>what day will you likely recall first?\u00a0<\/strong><\/p>\n

\n\tThat\u2019s a big question. There were a lot of hard days, but it remains one of the pieces of work that I enjoyed making the most because I loved working with Janicza so much. I think it\u2019s very good; I\u2019m very proud of it. Strangely, it was a very physical part, and a lot of scenes felt almost like modern dance, only we shot them outside on muddy grass in rainy England. They come to mind in terms of the discomfort and the cold.<\/p>\n

\nIf your agent brings you another character named Claire, are you going to finally put your foot down?\u00a0<\/strong><\/p>\n

\n\t(Laughs<\/em>.) It\u2019s so funny that you\u2019ve brought this up today because no one else has spotted this. But Janicza, weirdly, talks about it all the time. She\u2019s like, \u201cYou and the Claires, it\u2019s got to stop.\u201d We were out together last night, and she actually said to me, \u201cIf I was a young filmmaker trying to get a film made with you as the star, the only thing I\u2019d have to do is write another character called Claire.\u201d<\/p>\n

Read more What Happens When \u2018Finding Your Roots\u2019 Uncovers a Famous Family Secret Too Big to Air?<\/a><\/p>\n

\n\t***
The Listeners debuts new episodes every Friday on STARZ until July 10.<\/em><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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