Lady in the Lake | Moses Ingram - Apple TV+
When the disappearance of a young girl grips the city of Baltimore on Thanksgiving 1966, the lives of two women converge on a fatal collision course. Maddie Schwartz (Natalie Portman) is a Jewish housewife seeking to shed a secret past and reinvent herself as an investigative journalist, and Cleo Johnson (Moses Ingram) is a mother navigating the political underbelly of Black Baltimore while struggling to provide for her family. Their disparate lives seem parallel at first, but when Maddie becomes fixated on Cleo’s mystifying death, a chasm opens that puts everyone around them in danger. From visionary director Alma Har’el, “Lady in the Lake” emerges as a feverish noir thriller and an unexpected tale of the price women pay for their dreams.
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00:00You know, in scenes like this, you've got to be okay
00:02with how ugly it might be,
00:03because you really got to be vulnerable.
00:05So I just try to go in willing.
00:06I think a lot changed for me personally
00:09in filming this scene.
00:11Hi, I'm Moses Ingram, and this is another take.
00:16Hit it, baby.
00:18This scene is just after Cleo has found out
00:21that the one thing she thought might save her will not.
00:25I think this is Cleo's moment of, I don't care.
00:31We shot this from so many different angles,
00:34and it got really wild, actually.
00:37There's a moment in shooting almost at the end of the day.
00:41I'm dancing, I'm dancing, I'm dancing.
00:43The camera is down in there with us,
00:45and me and the camera collide right in my eye,
00:49and everything stops.
00:50You know when it's so bad, you, like, got to wait to cry?
00:54Alma came over, she was like,
00:55I'm so sorry to ask you, do we keep going?
00:58And I was like, we got to keep going.
01:00We moved the wig down and put some makeup on
01:03to cover the swelling,
01:04and we got some of the best shots of the night.
01:09I was really supported by the dancers that were around.
01:12They were really wonderful people who were patient,
01:15you know, very professional,
01:16knowing that I'm not a dancer, I am a mover,
01:19and supporting me through the choreography
01:22and telling the story in the body as well.
01:24You know, in scenes like this,
01:25you got to be okay with how ugly it might be,
01:27because you really got to be vulnerable.
01:29So I just try to go in willing.
01:30I think a lot changed for me personally
01:33in filming this scene.