Actor Greg Hill, known for his impactful performances in horror and thriller films, will be back on the big screen as the supporting character Henry in the thriller AI Afraid, produced by Blumhouse. The film, which is set to premiere on August 30, also stars John Cho and promises to capture audiences’ attention with its engaging plot. Hill, who was recently seen in the futuristic war epic Civil War, directed by Alex Garland, continues to consolidate his career in Hollywood, having starred in productions such as Operation Finale alongside Ben Kingsley and Oscar Isaac, and participated in independent films such as BIT and Boogeyman Pop.
How was the experience of playing a major character – Henry – in AFRAID, especially in an AI thriller produced by Blumhouse, known for iconic films like M3GAN and The Black Phone?
It was an incredible experience. I had previously worked with Chris Weitz, the writer and Director of AfrAId in 2018 on a movie called Operation Finale. The second time working with him was a joy because we kind of had a shorthand and knew each other already. The subject matter is very topical so it was interesting to delve into that, but I mostly focused on my character And his world. It was one of the best arcs of a character I’ve ever had. In the beginning, we see him as this man who is well put together and then by the time we see him next he has unraveled.
Having participated in various genres, from AI thrillers to war and horror films, how do you prepare for such diverse and intense roles?
Although the subject matter is different for various films, it’s all about the character for me. What is his backstory, how does he walk, what ellipticals does he use when he talks, what are his favorite songs, etc. etc. This informs me of how to approach the material. Of course I read the script a couple of times, but I really read my scenes that I’m in Dozens and dozens of times to familiarize myself with my characters world. I want to know what’s going on in the world of all the other characters, but I don’t want to know it to the point to where I have it memorized, because that’s not how your interactions with other people are in real life. I don’t know what Sam had for breakfast or what he did before we had our meeting on Tuesday just like he doesn’t know what I had for breakfast or what I did before we met for our meeting, but I know a little bit about his life , and that’s how I apply that truth to my approach. But you’re damn sure that I need to know everything about my character and my world that I reside in. Whether it’s a horror film, a war film, or an indie film, it really is all about the character for me.
AFRAID is hitting theaters soon. What can you tell us about the dynamic between your character and John Cho’s? What was it like working alongside him?
John Cho is a very present actor. He is a very genuine, honest, truthful actor. He brings truth to each scene he’s doing. Eye Contact is very important to me and when we were doing our scenes together, I felt like there was a dynamic there of authenticity that made it very real for myself, and I can’t speak for him, but I think him as well. Henry believes that John’s characters family has abducted his daughter and so he and his wife confront them about this. We have been informed by the AI about a lot of misleading things that brings us to the point of doing what we decide to do. I don’t want to give too much away, but his and my character meet at the height of the drama in the film.
The film Civil War, directed by Alex Garland, was a huge success. What was it like to be part of a project that became A24’s highest-grossing opening weekend?
It was obviously a great experience. Alex Garland is such a great writer and Director, and it was an honor to be able to be in one of his films. That film is very topical as well. Although I have one scene, I was so amazed when I watched the film to see how expansive it was and how Alex treated every character actor as though they were the star of their own scene. When you work with a director like that, it just opens your mind to all the possibilities in the galaxy of what it is to act and play with material. Of course it was phenomenal to be a part of such a historic film. I really would love the chance to work with Alex Garland again because he is so nice, and such an actors Director.
You’ve worked with big names like Ben Kingsley and Oscar Isaac in Operation Finale. What did you learn from these experienced actors that you’ve carried into your subsequent work?
We were doing the scene where I strangled Sir Ben Kingsley, I was so terrified because I’m very familiar with his work and he is an absolute legend. At the time, I smoked cigarettes and I just remember before we did each take washing my hands thoroughly to the point that I might’ve bled a little bit, trying to get my hands clean so that there was no nicotine smell coming off of them when I put my hand over his mouth. I was just very intimidated because it was my first studio film and here I was with the task of strangling Sir Ben Kingsley. The guy that was in Schindler‘s list and Ghandi. Anyways, we start to rehearse the scene a little bit and at one point, I have to put my hand over his mouth, and there was no direction from Chris or an AD or anybody else as to what the cue would be to do that, but Kingsley looks at me and says, “when I take a breath in from my anxiety, that will be your cue to put your hand over my mouth, does that work for you?” And in that moment, I just thought, this guy is a legend, somebody who is so seasoned and experienced. Oscar Isaac was so kind to me. He’s part of the reason I got the role. There was a movie I did called The Wolfman‘s hammer that Chris showed to Oscar and that got him on board about having me in the film. From Oscar, I learned about how to dissect the scene when you get in there beyond blocking it. Taking apart everything in the room and getting familiar with it and taking your time until you’re ready to shoot and you know what the world is. All the details of your environment like you’ve been in it and you’re familiar with it. It was very educational. And it was a great experience for me because it was my first time working with legendary actors. I learned a lot.
Your roles in independent films like BIT and BOOGEYMAN POP showcase your versatility. What draws you to independent projects, and what do you enjoy most about this type of production?
Those films are very different than Studio films. There’s something special about independent films because it feels like you’re very hungry while you’re making it. But at the end of the day, it’s all about the character like I said before. So it’s almost not different but at the same time you can tell it’s different because of the size of the trailers.
In South of Heaven, you acted alongside Jason Sudeikis, known for his work in comedies. How was that experience, and how does it compare to your roles in horror and suspense films?
I really only had a very small scene with very few lines of dialogue in that film. I didn’t really get a chance to authentically work with him because I just came up to the window of his truck, knocked on it and said a line then walked off. But he seemed like a really nice guy and I appreciate the fact that he’s trying to break into drama. I can’t really speak on how that defers from horror and suspense films because I didn’t have a major role in that film, but horror and suspense films are the same as any other film, it all goes back to what I said previously about how it starts with the character. What is the character? Where was he before this, and where will he be after this? Art is art, whether it’s suspense, genre, drama. Good art is just that. Art.
What can audiences expect from you in AFRAID and in your future projects? Is there a specific role or genre you’d like to explore in the future?
I haven’t seen the film yet. But based on the script and what we filmed, I would say that audiences can expect to empathize with somebody who is just desperately trying to get their child back. There’s other stuff going on there but again, no spoilers. I’ve been thinking a lot about Philip Seymour Hoffman recently, and I just want to do a role where I’m able to just stretch those moments on the screen to be authentic and genuine. I think about the movie Philadelphia, where Tom Hank’s character walks out of Denzel Washington’s character’s office and the camera stays on him for what seems like a whole minute and he’s just going over all this stuff in his mind and he’s able to emote that and show truth and and it’s so powerful and I’d like to have opportunities like that to just tell my truth for whatever character I get the opportunity to play.