A woman’s idyllic life comes crashing down in Dark Obsession. The psychological thriller revolves around a painter whose husband abruptly leaves her in the middle of the night, and as she tries to come to terms with his decision, she finds herself tormented by an ominous voice in the woods nearby.
Blaine Morris, who also co-wrote the movie, leads the Dark Obsession cast alongside Mena Suvari, Halloween alum Danielle Harris, Adriana Barraza, Leonard Amoia, Anwar Wolf, Lucy Werner, Hunter Brown, Rocky Perez, Jaime Gallagher, Kathleen Kinmont and Luke Barnett. Making artful use of its singular location to amplify the tension and claustrophobia surrounding the lead character, the movie is a haunting and compelling affair.
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In honor of the movie’s release, Screen Rant interviewed producer/star Danielle Harris to discuss Dark Obsession, the challenges of dialogue-less acting, the importance of supporting indie filmmaking, her thoughts on the future of the Halloween franchise, and reflecting on working with Bruce Willis on The Last Boy Scout.
Danielle Harris On Dark Obsession, Halloween & More
Screen Rant: I’m excited to talk with you, as I’ve been a big admirer of your work for a long time, and I think Dark Obsession is a really cool and intriguing installment into your filmography. I love that you’re both a producer on this as well as a star, what about this project really spoke to you to wear both hats for it?
Danielle Harris: Supporting indie filmmaking, the story, the lead being female and doing most of the heavy lifting by herself on screen alone. [Also] starring, producing and writing, that’s awesome. So, I support that 100%. The context of the story, the shame, the trauma, all of that, the isolation — all the things I think that we were feeling during COVID, actually. So yeah, I was just excited to have a tiny little part that spoke so much. I felt like during the beginning in 2020, I was taking on movies that had tiny roles, but were very important to the story, and this was one of those that you don’t really realize how important she is or the connection between the the backstories of the characters, because there’s very little words for most of the movie. But the feeling was there, it was interesting to tackle and see what that felt like.
It really does play well into the movie’s bizarre atmosphere. So, did they approach you to be a part of this project, or did you find them?
Danielle Harris: They approached me, they sent the script to me and I said, “I would love to come on board and do this little part and and help you guys in any way that I can to make this happen.” So, I signed on as producer.
That’s amazing, so what all did you help with in the producer side of things versus the acting side of things?
Danielle Harris: More of the acting side of things, and casting, and press stuff, and promotion. Then, I actually came in and worked on another film of theirs called Project Dorothy right after that, that just came out or is actually, I think, is just coming out right now. It’s nice when you find your people that you want to work with, and then you kind of create your little group. I’ve been doing this for 40 years, and I’m still putting my list together of who my core would be. I really liked George as a filmmaker and thought that we have a nice little relationship and I would want to help him succeed.
So with that said, even though you do have a small part in this, how much did you and George discuss what your character’s actual story is, and how it ties to Blaine’s?
Danielle Harris: We didn’t discuss anything before I got on set, and then we just played. We actually did something really interesting, which I had never done before — and sometimes, it can be quirky when new filmmakers that are out of film school are trying things they learned in school, and because I’ve been doing this for so long, you’re like, “Okay, what is it? Give me your thing that you want to try” He had us do the scene entirely without saying any words, so just, “Set. Action!”, and we knew the dialogue in our head — which was not a lot of dialogue. I opened the door, and she walked up, and I just looked at her, and she looked at me, and I looked at her, and she looked at me, and I looked at her, and we had this whole unspoken thing. That was what he was trying to get once.
So, we did that, and then we went and added the dialogue in after, so it was a cool little technique that I was like, “Okay, I see how much you need to see and not rely upon the words,” so it’s kind of cool. Again, indie filmmakers, directors, they all have kind of their thing, but what I love about that is when I do a lot of horror movies, a lot of the directors are fanboys who grew up watching me from when I was a kid, and they don’t want to give me direction.
They don’t want to give me notes. They don’t want to tell me what to do because they’re scared, so when you have films like this, it’s a little bit easier, I guess, or cooler to dig in and kind of play with character. Versus, “Okay, cool. I’ve got the great opening scene where I’ve got the big death, and I know what I’m doing. You guys don’t need to tell me how to be dragged across the floor, screaming and crying.” So, it’s fun to try different things.
Now, with that said that, I am actually curious what it was like performing that scene dialogue-less? What were some of the challenges and the emotions going through your head as you were performing that sequence?
Danielle Harris: It felt really uncomfortable, and I think that was what he was looking for. That was might have been what was missing when we were doing it was that feeling of being uncomfortable. Because there’s obviously no husband yelling at me [in the background], and we didn’t have a relationship, her and I. I didn’t know Blaine, it was COVID, and we were in separate rooms, so, it’s like, two women coming together and what can you say to one another about what you’re feeling without saying anything.
And weird stuff would come up. There were times where I felt like I wanted to cry for no reason, and I think that’s kind of the basis of the story, right? Like, what’s behind the eyes when you’re not saying what you need to say, that was the overall tone of the of the story. And then we got to do that in our one little scene, so it was weird, and I had never done it before, but I think it really worked, so kudos to them.
I love that, and I mean, the scene still feels largely dialogue-less, but it works.
Danielle Harris: Well, you see it and you’re like, “What am I supposed to do? What do you want me to do with it? Why are you hiring me to do this? Why do you want me to do this? Because, the woman answers the door and says, ‘I don’t know, honey, I haven’t seen him,’ and then that’s really what it is. So, you could have had another actor that just came in and said the words.” But, we wouldn’t have had that same thing. So, I think he wanted me for her and wanted me for this character, because he wanted to add that element, so thank you.
Well, again, it was perfect, the way it plays out. I also love the look of your character.
Danielle Harris: You like when I look like s–t? [Laughs]
I wasn’t gonna say that! Kind of like what we’ve been discussing, it almost leans into the parallels between the two characters, and they’re toxic relationships, so I’m curious how much input you had on that versus how much was maybe the Wardrobe and George?
Danielle Harris: It was really George’s vision and Wardrobe. I knew, obviously, I had been locked in my house for a while and didn’t have access to outside, so the clothes were a little bit dated. I think all of that stuff in the film seems very specific, so I’m not sure who, in pre-production, makes all those decisions, whether it was the production designer, or it was Blaine or it was George, but I think it was a combination of all the above. So, I just showed up and said, “Tell me what you want me to do. I’m tired, don’t put any makeup on me, and let’s just roll with it.”
So, I’m definitely not an actor that needs to be [done up], I’m the actor that every time makeup comes up and says, “Do you want a touch up?” I’m like, “No, go away, go away, go away. I’m in my in my space, I don’t need a powdered nose right now.” So I’m definitely not the other actor that’s [like that]. Usually, it’s the male actors that are more concerned with their appearance on screen than the female, believe it or not.
I can believe it, to be honest.
Danielle Harris: Yep. It’s always the guy that wants to do another take or wants to be on this side of the camera or whatever. It’s very rarely the woman that is concerned about the way she looks.
Just shows how much more of a team player you are! So, with this movie, what are you hoping that audiences can take away from its story, from its messages, from its performances, all of that?
Danielle Harris: I think that movies don’t need to be big blockbuster-budget movies to resonate with people. We know that in the horror community, that it doesn’t need to be that, and it’s all about story, relationship, character, simplicity. But there’s a lot of beautiful elements to it, too, the score, the sound, the music, the visuals, all of that stuff. Really, that’s what filmmaking is, it’s a compilation of all of the things, and I’m hoping that people watch it, and they feel something, whether it’s, “I’ve been there” or — I mean, obviously, no one’s killing anybody, hopefully. But, “I’ve been there, and I know what that feels like to be hiding something that I’m not supposed to be feeling.” That could be a number of things with where we are in our world right now, so I think it’ll touch upon a lot of nerves, and hopefully, it’d be enjoyable for people to watch.
I really hope people will get the chance to watch it, because there is so much that it has to offer. Before I let you go, I did want to ask a few questions outside of the movie. You recently talked about your interest in returning as Jamie in the Halloween franchise, but I’m curious, David Gordon Green did such a unique job of honoring what came before, especially with some of the cameos, in the new trilogy. Did he ever approach you to be in any of the of his movies?
Danielle Harris: No, I actually myself had talked to the guys at Blumhouse and said, “Hey, I just want you to know, I would totally love to do a little teeny cameo, because I would love to work with him and be part of this.” But again, I’d already done Annie and come back for Rob Zombie’s, and how many times can I come back as another character realistically without it being stupid? So, I got it, but I had talked to them about other ideas that I’d had for the franchise, and living in it for as long as I’ve lived in it, and what I would love to see happen.
Obviously, I’ve said from the beginning, I would love to see where Jamie is now, as an adult. I wouldn’t come back to the movie as anything other than that, and I’m hoping that now they’ve got the rights to TV series and all these things in the universe, the whole Halloween world. I’m really hoping that that they find a timeline where we can go back and explore where where I am right now, because I would sure love to know.
I would too, I would love to see Jamie get the Halloween 2018 treatment.
Danielle Harris: Wouldn’t that be awesome?
It would be the best! She’s a character that deserves that treatment, so, fingers crossed. So what were your thoughts on the overall trilogy, because obviously critics got more and more mixed as the movies went on?
Danielle Harris: I liked a lot of it. I liked the last one, I just didn’t like it as a Halloween movie. If it I think if it hadn’t been called Halloween Ends, it would have received great reviews. The fans are really particular about Michael Myers, and I get it, I totally get it. Without Jamie Lee Curtis in it, I don’t know how well it necessarily would have done, obviously, but you have her and everyone’s gonna go see it. Hopefully, if I’m in it another time, they’ll all go see it because of me. But, I feel like they do these movies in threes, right? I feel like they everything, they’re all in three, so while I was happy to see him come back, I feel like Rob Zombie really struggled after Halloween 2. I feel like the franchise was hurting.
I’m glad that they were able to bring it back the way they did and reignite this love for it. I mean, look, we have a convention solely for Halloween, for that franchise, that doesn’t happen with anything else. I always say, like, there’s no Terms of Endearment convention, so I’m excited that that world still exists and that there’s different timelines, and rules, and avenues to explore what that world looks like. So, I liked it, I’m excited to see where it goes from here. But I think they did a great job with what they had for sure. It’s hard, studios are hard, there’s a lot of players, a lot of rules. I learned that from the difference between Halloween 4 and 5 versus working on Rob Zombie’s Halloween.
Four and 5 was 100% creative in producers and director [control], they were all team players, where you have, now, the studio involved, and you’ve got other forces at play that make decisions based on things outside of the art and the story. I’m hoping that maybe we get to go back to the way that it used to be, because it’d be lovely to get back into Halloween as Jamie and have it not be a studio feel. Have it be kind of how it was in the ’80s. Wouldn’t that be great?
Yeah, that creative freedom would be perfect for continuing Halloween in the future.
Danielle Harris: That’s what the fans want. The studios are churning out movies that the fans are not wanting to see, where if they just kept it simple, and let us do what we know — I think they’re marketing to the wrong people. It’s like when they brought Laurie’s daughter — I’m totally blanking on her name right now — that actress, she’s fantastic. As an actress, I’m a huge fan of hers, but she’s not Laurie’s daughter. But I get, marketing wise, she’s a big movie star and incredibly talented, and it’s all this draw, but if you just keep it simple, and keep it the way fans want to see, I think they’ll be more even more successful than they already could be.
I couldn’t agree more, we’ll put it out in the airwaves. For my final question, one of my favorite movies of yours is actually The Last Boy Scout. I adore Shane Black, I adore Bruce Willis. Bruce recently had to retire due to his health. What is that like for you looking back on your experience with him on that movie in retrospect?
Danielle Harris: Devastating, it’s sad. I feel the same way about Christina Applegate, to see these stars that, in your mind, are going to be there forever, and then you start to see them age or pass. I mean, I’m 46, so I’m starting to see my movie stars that I looked up to dying, and you don’t think that’s ever going to happen. You think they’re going to stay that way forever, so it’s really scary and sad. I’m writing a book now, actually, and my writer came in town this weekend, and we just went over all the chapters, and Last Boy Scout’s obviously a very, very big chapter in my book, and the stories about Bruce. The first day that I came onset, [after] I did the first scene, he said, “Kid, this is my movie, don’t upstage me.”
At the time, I was like, “He’s not nice, he’s not being nice.” And then thinking about it, that’s just Bruce. He’s just funny like that, and he was actually paying me a huge compliment by saying that. But as a 14 year old, you’re like, “Oh, I don’t know what I did wrong.” And then, obviously, Tony Scott, I talked a lot about him on my podcast, actually, that’s out today, I talked about Tony and what he’d wear to set, and he took me to get those fake braces where I had to get a tooth pulled. It’s crazy, like, Tony Scott took me to the dentist to get my tooth pulled, who does that kind of stuff? So, that movie is super special.
Obviously, that script is one of the scripts I wish that I would have kept, because I don’t know where it is. But I know the original script was way more intense than the stuff that was actually shown. I have a little story, and then I’ll let you go, but when I did Once Upon a Time in Hollywood with Quentin, there’s a scene — I was very, very pregnant, and he wrote the character for me, and was figuring out what what I could say or what I would do while I was there. So, he’s like, “I’m going to name you Angel,” and he gave me the scene with Brad. So, I get to set and he says, “There’s the scene where all of you, the Manson family, is telling Brad’s character to get out here, and leave, and get off for our lot.” And he said, “I want you to say, ‘Take a bath in my a–!'”
Because, what people don’t realize and don’t know — but, of course, Quentin Tarantino knew — was that was a line that I said in the original script of Last Boy Scout to [the bad guy] when I say, “Eat s–t, you f—-ng redneck!” I also had told that character that kidnapped me to take a bath in my a–, but it never made it on screen, and Quenton always loved that line and was like, “You didn’t get to say it in Last Boy Scout, you’re gonna say it in my movie.” I was like, “Oh my god, I get to tell Brad Pitt to take a bath in my a–, this is the best day ever. I will never forget this!”
And then, I ended up having my baby the day that I was supposed to shoot the scene, so I didn’t get to do the scene. So I’m hoping that maybe Quentin will bring that back at some point for another movie, but I love that he knew that that was in Shane’s script, and that Shane wrote that kind of stuff. That movie is just a classic, it still holds up and it’s one of my favorite characters, if not favorite, next to Jamie Lloyd, for sure.
About Dark Obsession
Co-written (with Blaine Morris) and directed by UK-based George Henry Horton, Dark Obsession stars Morris (MTV’s Skins), BAFTA-nominated Mena Suvari (American Beauty), Oscar-nominated Adriana Barraza (Blue Beetle, Babel), and Danielle Harris (Rob Zombie’s Halloween),
Aspiring painter Anne (Blaine Morris) is haunted by the sudden—and unexplained—departure of her husband. Sinking deeper into her self-imposed isolation, Anne finds support in Maya (Mena Suvari), her closest confidant. While their friendship blossoms from tragedy, a shared disquiet takes root in Anne’s tight-knit community when unsettling questions are raised about Maya.
