Ayo Edebiri On The 'Family Feeling' Of ‘The Bear' & Her New 'Sticky' Luca Guadagnino Film ‘After The Hunt'
Aya Edebiri is definitely looking forward to some Season 4 action on The Bear. During a red carpet interview with deadline at the Directors Guild of America Awards Saturday night, all she would reveal about the upcoming new season was, 'I can let you know that I'm going to be in Chicago and the vibe will be that I'm cold,' but she did dig into what she loves most about working on the the show.
'It's just the collaboration,' she said. 'It's like a real family feeling and there's no bad ideas, and we all get in there. You just show up ready to do the work and everybody just goes their hardest, and leaves space for each other, I think, to share what they know and what they're excited about, and I think that's just what makes for a good work environment.'
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Edebiri recently appeared in the Sundance premiere Opus—a horror in which she's on the run from a would-be cult, starring alongside John Malkovich and Juliette Lewis, and an experience she called 'a blast.'
Up next she also has Luca Guadagnino's After the Hunt, about a college professor with a dark secret, starring Julia Roberts, Andrew Garfileld and Chloë Sevigny.
'I'm very excited,' she said. '[Guadagnino] is a visionary, I think. He cares so deeply about human beings and their relationship to each other. [The film] is sticky. It's a complicated movie, but I feel so proud to be a part of it and excited to see it. I know that I'm biased, but me aside, everybody's so amazing. I really was blown away, so I'm really excited.'
Edebiri was at the DGAs as a nominee for her work directing The Bear Season 3 episode 'Napkins' that follows Tina (Liza Colón-Zayas) and her trepidatious journey to first working at the restaurant.
'I loved this script so much,' Edebiri said of the episode. 'I was so excited to get to work with Liza because she's just a force of nature. I came up in New York and have seen her in so many plays. She's a master, but getting to direct her and just have conversations with her – I was learning about acting while directing her, and it was just so easy in a way. I knew what choices I had to make, because her face told me everything. I could just let the camera roll on her and on. And John Bernthal, when they have a beautiful scene together, I just wanted to, I don't know, let it roll, and not cut because they were giving performances. That's like, you don't need anything else. Those two people just being the greatest.'
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