*After years of beef, Lee Daniels and Mo’Nique look to be in a good space regarding their personal and professional relationship. So much so the pair are working together again in Daniels’ new horror film “The Deliverance.”
The feature, which hits theaters August 30, finds inspiration from the true-life story of LaToya Ammons, a mother in Gary, Indiana who, in 2011, claimed her children had become possessed by a demonic spirit.
In addition to Mo’Nique, who plays Cynthia Henry, Daniels reunites with his Oscar-nominated “The United States vs. Billie Holiday” star Andra Day, who plays Ebony, a neglectful, alcoholic mother struggling with her own abandonment issues, and Aunjanue Ellis-Taylor, who portrays Rev. Bernice James.
Glenn Close, who worked with Daniels for the first time, plays Alberta, Ebony’s mother who’s now found Jesus after failing to be the parent Ebony needed her to be as a child.
Chatting with The Hollywood Reporter, Daniels reflects on working with Mo’Nique for the first time since falling out with over financial expectations around promoting his 2009 film “Precious,” for which the former “The Parkers” star won the Oscar for best supporting actress.
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When did you first hear of LaToya Ammons’ story, and what made you want to produce it for the screen?
I had never heard of it before Precious. My producer who produced the first film that I had done — Tucker Tooley, we did Shadowboxer together — gave it to me right after I did Precious. And I steered away from it for a couple of reasons. One, I felt that I didn’t want to do another story about abuse. This woman was abusing her kids — or what is defined as abuse, because she was hitting the kids. And two, I know how I work. I’m an open portal. And I know what I demand. And I know the spirit works through me. So what kind of spirits do I want on me? So I was just like, “No, I’m not [going to do it].” But the story sort of sat with me forever. We had never seen this story, through this lens of this African American woman, onscreen, and I just felt we’re in such dark times, and I don’t think people really know how dark of times we are in. And I felt like I needed to get reconnected to my higher power.
So I was thinking, “OK, how do I do it?” I’m scaring you to Jesus — for me. It could be scaring you to Allah, it could be scaring you to Buddha, it could be scaring you to whomever it is that you have faith in, but it’s scaring you to faith. I’m always a little ahead of the curve, I think when it comes to where we are and why I do my projects. It’s always because it’s something in the ether. I remember with Empire, it was like, “I’m tired of Black men and women making fun of me because I’m gay.” I need to change that. And now, look at us.
It was such a surprise to see Mo’Nique in this film after the fallout from Precious. How did that happen?
Wasn’t that God working? First of all, part of me trying to find my higher power was also understanding what that meant. And that meant forgiveness, that meant apologizing, even if I didn’t understand what I was apologizing for. I had to understand that she was hurt, and that is my sister, and that I love her. And like, what is this about? You know what I mean? This is crazy. I love you, this is enough. So, not only am I going to apologize, but I’m going to apologize publicly to you, and we’re getting ready to work together. And then we’re going to work together again, how about that?
Glenn Close is also in this film, and we haven’t seen her like this before. Talk about getting her on board.
Black people know this woman. That’s part of the reason why I did it because I know that we’ve never seen this white woman ever in this world, and that’s what I love about it. I love being fresh and original and provocative to our culture. But Glenn was trying [to understand] like, “Wait, so you want me to put on weight and then you’re going to take these clothes in, and then what? And then baby hair, what?” But she did it. She’s a true thespian and it was just beautiful.
For more of Lee Daniels’ interview with The Hollywood Reporter, click here.
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