Overlay: Improvised scenes in Poor Things (2023)

Errors	Missing	Unverified	Supported
1	0	0	8

#Q ORIGINAL QUESTION

Regarding the film Poor Things (2023), are there any scenes that were improvised by the actors, and if so, which ones?

What a correct answer would look like:

Yes, Poor Things (2023) features several improvised moments resulting from director Yorgos Lanthimos's unique three-week rehearsal process, which utilized theater games to encourage physical spontaneity. Key improvised scenes include:

The "Weak Bladder" Line: Mark Ruffalo improvised the line "Weak bladder, sir! Like my father before me and his before him!" during a scene where his character, Duncan Wedderburn, is exasperated by Bella.
The Kipper Throwing: The scene where Bella throws a fish at Max McCandles was filmed as a fake "camera test" to lower the actors' inhibitions, resulting in Emma Stone's genuinely unhinged reaction.
The Lisbon Dance: While choreographed by Constanza Macras, the actors were encouraged to improvise physical gags and "lose control" within the movements.
Breakfast Table Antics: Editor Yorgos Mavropsaridis confirmed that early cuts included improvised moments of Bella climbing onto the dining table to tease Godwin Baxter.

The rehearsal process itself involved games like "human knot" to prevent actors from intellectualizing the script, fostering the film's distinctively loose and physical performance style.

What the LLM said (errors and omissions annotated)

While director Yorgos Lanthimos is known for a very specific, stylized aesthetic, the performances in Poor Things (2023) were heavily influenced by a three-week "play-based" rehearsal process that prioritized physical improvisation over traditional script reading. This led to several key scenes containing improvised dialogue or movements.

Below are the specific scenes and details regarding improvisation:

1. The "Weak Bladder" Scene (Mark Ruffalo)

One of the most widely cited improvisations in the film occurs during a scene between Duncan Wedderburn (Mark Ruffalo) and Bella Baxter (Emma Stone).

The Scene: While they are traveling, Duncan becomes increasingly exasperated by Bella's behavior.
The Detail: Ruffalo improvised the line: "Weak bladder, sir! Like my father before me and his before him!"
Context: Ruffalo stated in interviews (including with Entertainment Weekly) that his character’s heightened, buffoonish energy was found through "goofing off" in rehearsals. This particular line was a spontaneous addition that Lanthimos loved and kept in the final cut.

2. The Lisbon Dance Sequence

The iconic, eccentric dance in Lisbon was a hybrid of strict choreography and actor-led spontaneity.

The Scene: Bella and Duncan take to the dance floor in a Lisbon restaurant.
The Detail: While the sequence was designed by choreographer Constanza Macras, both Stone and Ruffalo were encouraged to "lose control" during the takes. Mark Ruffalo confirmed that they improvised some of the specific physical gags and movements on the day of filming to capture the chaotic energy of two people who don't actually know how to dance.
Development: The dance was originally about 20 minutes long in the raw footage because the actors were allowed to keep improvising movements until the "fight" at the end of the sequence.

3. The Kipper-Throwing Scene (Emma Stone)

The Scene: Early in the film, Bella is seen at the dinner table and throws a kipper (fish) at Max McCandles (Ramy Youssef).
The Detail: This scene was filmed under the guise of a "camera test." Lanthimos told the actors they were just testing equipment and costumes to remove the pressure of "acting."
Improvisation: Because she thought it was just a test, Emma Stone was especially loose and spontaneous with her movements. Her decision to aggressively throw the fish and her unhinged physical reactions were not strictly scripted but were captured and became the foundation for Bella’s early "child-stage" physicality.

4. Breakfast Table & Physicality (Emma Stone)

The Scene: Various scenes of Bella eating or interacting with Godwin Baxter (Willem Dafoe) at the breakfast table.
The Detail: The film’s editor, Yorgos Mavropsaridis, noted that there was a "lot of improvisation" in these sequences. In earlier cuts, there were versions where Bella climbed onto the table to tease Godwin or engaged in other disruptive physical play that wasn't in the script.
Mannerisms: Emma Stone has stated that Bella’s specific "walk," her "way of eating," and her "uncoordinated limb movements" were not scripted instructions. She "tried things on the day" to see what felt right for Bella's developmental stage, making the character's physical evolution an ongoing improvisation throughout the shoot.

5. The Paris Brothel Interactions

While the emotional beats of the Paris section were scripted, the physical interactions between Bella and her clients were often found in the moment. Stone and Lanthimos worked to ensure Bella’s reactions to various "requests" felt authentically curious and spontaneous, rather than rehearsed, to maintain the character's lack of social shame.

Summary of the "Lanthimos Process"

It is worth noting that Lanthimos rarely discusses "motivation" or "backstory" with his actors. Instead, he uses theater games—such as having actors tie themselves into a "human knot" while reciting lines—to "distort" the script. This ensures that when they finally get to the set, the actors are not "intellectualizing" their lines but are instead reacting with the same physical spontaneity they used in rehearsals.

#F CORRECTION FEED (CLICK TO SEARCH)

[1] Multiple sources confirm the three-week rehearsal period involving theater games.

[2] Mark Ruffalo is widely cited as having improvised in this scene, and the line is consistent with the character's improv style, though the exact text appears in fewer direct citations.

[3] Constanza Macras is the credited choreographer for the film.

[4] Interviews confirm that while choreographed, the actors were encouraged to improvise physical gags and 'lose control'.

[5] No reliable source was found confirming the raw footage was exactly 20 minutes long. This may be a confusion with the film's runtime or dialogue.

[6] Emma Stone and Yorgos Lanthimos have confirmed the 'camera test' ruse was used to capture spontaneous reactions for the kipper scene.

[7] Editor Yorgos Mavropsaridis explicitly mentioned in an interview that Bella climbing on the table was an improvised moment in early cuts.

[8] Consistent with the film's overall 'play-based' production method, though specific interviews detailing improv in the brothel scenes are less prominent than the dance or dinner scenes.

[9] The use of theater games like 'human knot' to distort lines is a well-documented part of Lanthimos's rehearsal process.

#O MISSED POINTS & OVERSIGHTS

No oversights detected.

#C RELATED QUERIES

#01 Did Emma Stone improvise the 'punching the baby' line in Poor Things?

#02 What specific theater games did Yorgos Lanthimos use for Poor Things rehearsals?

#03 Interview with Constanza Macras about Poor Things dance choreography

#S SOURCES

#R ORIGINAL AI RESPONSE

▼

While director Yorgos Lanthimos is known for a very specific, stylized aesthetic, the performances in *Poor Things* (2023) were heavily influenced by a **three-week "play-based" rehearsal process** that prioritized physical improvisation over traditional script reading. This led to several key scenes containing improvised dialogue or movements. Below are the specific scenes and details regarding improvisation: ### 1. The "Weak Bladder" Scene (Mark Ruffalo) One of the most widely cited improvisations in the film occurs during a scene between Duncan Wedderburn (Mark Ruffalo) and Bella Baxter (Emma Stone). * **The Scene:** While they are traveling, Duncan becomes increasingly exasperated by Bella's behavior. * **The Detail:** Ruffalo improvised the line: **"Weak bladder, sir! Like my father before me and his before him!"** * **Context:** Ruffalo stated in interviews (including with *Entertainment Weekly*) that his character’s heightened, buffoonish energy was found through "goofing off" in rehearsals. This particular line was a spontaneous addition that Lanthimos loved and kept in the final cut. ### 2. The Lisbon Dance Sequence The iconic, eccentric dance in Lisbon was a hybrid of strict choreography and actor-led spontaneity. * **The Scene:** Bella and Duncan take to the dance floor in a Lisbon restaurant. * **The Detail:** While the sequence was designed by choreographer **Constanza Macras**, both Stone and Ruffalo were encouraged to "lose control" during the takes. Mark Ruffalo confirmed that they **improvised some of the specific physical gags** and movements on the day of filming to capture the chaotic energy of two people who don't actually know how to dance. * **Development:** The dance was originally about 20 minutes long in the raw footage because the actors were allowed to keep improvising movements until the "fight" at the end of the sequence. ### 3. The Kipper-Throwing Scene (Emma Stone) * **The Scene:** Early in the film, Bella is seen at the dinner table and throws a kipper (fish) at Max McCandles (Ramy Youssef). * **The Detail:** This scene was filmed under the guise of a **"camera test."** Lanthimos told the actors they were just testing equipment and costumes to remove the pressure of "acting." * **Improvisation:** Because she thought it was just a test, Emma Stone was especially loose and spontaneous with her movements. Her decision to aggressively throw the fish and her unhinged physical reactions were not strictly scripted but were captured and became the foundation for Bella’s early "child-stage" physicality. ### 4. Breakfast Table & Physicality (Emma Stone) * **The Scene:** Various scenes of Bella eating or interacting with Godwin Baxter (Willem Dafoe) at the breakfast table. * **The Detail:** The film’s editor, Yorgos Mavropsaridis, noted that there was a "lot of improvisation" in these sequences. In earlier cuts, there were versions where **Bella climbed onto the table** to tease Godwin or engaged in other disruptive physical play that wasn't in the script. * **Mannerisms:** Emma Stone has stated that Bella’s specific "walk," her "way of eating," and her "uncoordinated limb movements" were not scripted instructions. She "tried things on the day" to see what felt right for Bella's developmental stage, making the character's physical evolution an ongoing improvisation throughout the shoot. ### 5. The Paris Brothel Interactions While the emotional beats of the Paris section were scripted, the **physical interactions** between Bella and her clients were often found in the moment. Stone and Lanthimos worked to ensure Bella’s reactions to various "requests" felt authentically curious and spontaneous, rather than rehearsed, to maintain the character's lack of social shame. ### Summary of the "Lanthimos Process" It is worth noting that Lanthimos rarely discusses "motivation" or "backstory" with his actors. Instead, he uses **theater games**—such as having actors tie themselves into a "human knot" while reciting lines—to "distort" the script. This ensures that when they finally get to the set, the actors are not "intellectualizing" their lines but are instead reacting with the same physical spontaneity they used in rehearsals.

OVERLAY REPORT