This is as he's let her live with him for a while, with great reservations. PFEIFFER: Let's hear part of a scene involving Leslie and her son, James. I hope it's a bit more of an accurate depiction of humanity.
I'm really, really interested in embracing all the different parts of a human being and not reducing that one human being to their addiction, their gender, sexual preferences, whatever it is that is reductive, but rather kind of exploring. But I think in the life of one person - if you yourself think about Sacha, like, 10 years before now, it can feel like a completely different person. So I very much saw her - see her as, you know, one person. I think, actually, humans are extraordinary, all of them. I think often in cinema, the breadth of the human experience is so reduced. RISEBOROUGH: A single character, of course. Did you think of yourself as playing a single character or multiple characters? You had to play many different versions of Leslie. So we see her defiant and aggressive and sometimes funny, other times depressed and defeated. But soon after, she is literally on a curb, thrown out of a motel she'd been living in. PFEIFFER: Speaking of the beautiful, funny, spicy parts of Leslie, as you put it so well, we heard that clip of Leslie whooping and hollering and celebrating that she won all the money. And so in a sense, she's become her own demon because she's, you know, enmeshed with her own alcoholism. That are able to, you know, shine when she's relaxed in that way.
And there are so many beautiful, funny, spicy parts of Leslie's personality. When you're faced with the reality of your own life and actually the emptiness and the hopelessness is so vast, the idea that something may quell that, even momentarily, is magical. RISEBOROUGH: No, I don't even think she thinks that. PFEIFFER: She thinks the alcohol will make her soar, that will fix everything. And the disappointment - everything comes crashing down. She feels before she's about to do it like she's going to soar every time. And so when Leslie sort of gets to that place and leaves her body, she can be desperately unhappy as well, but for the most part, it's never satiating, drinking. It's the sort of waking hours of sobriety when the vast spectrum of guilt and shame, you know, a bunch of horrible, horrible feelings come in, which is kind of what keeps her trapped in this spiral that she's in. RISEBOROUGH: I think for Leslie, actually, those moments are the ones of escape. And I wondered what your mindset was during those scenes that allowed you to make them seem so authentic.
But you capture the range of emotions that Leslie can go through when she's drinking, from angry to flirty to despondent to raging. PFEIFFER: This feels like an odd thing to tell you right off the bat, but you play a really excellent drunk, and that is not easy to do in a convincing way. The star of "To Leslie," Andrea Riseborough, is with us to talk about what it was like to play this role. The film follows her battle with alcoholism, her relationship struggles and her attempts to redeem herself. She quickly squanders her winnings and loses family and friends along the way. The new movie, "To Leslie," is about a single mom in West Texas years after she buys a lotto ticket worth $190,000. PFEIFFER: But we rarely find out what happens to them after that. SEWELL WHITNEY: (As newscaster) Leslie, now does it feel to win such a life-changing sum of money?ĪNDREA RISEBOROUGH: (As Leslie) Oh, well, I feel a hell of a lot better than yesterday. We sometimes see lottery winners hoisting a big check on the local news.
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