From this week’s issue of Entertainment Weekly…
Before shooting one particularly challenging scene, (Octavia) Spencer realized that the nonprofessional child actors playing her kids needed a better grasp of the harsh conditions African-Americans faced in the 1960’s. “They had to be in as much distress as I was in,” she explains. “To one little boy, the youngest one, I said, ‘Well, what do you want to be when you grow up?’ and he said, ‘I want to be a fireman!’ I said, ‘Well, you can’t be a fireman. The only thing you can do is mow lawns.’ And his little lip quivered. He was just heartbroken.”
The possibility of death is introduced, that possibility turns into inevitability, death comes and is then considered—The Grey is structured as a string of scenes that proceed according to this pattern. The repetition recalls Sam Peckinpah’s apocalyptic Pat Garrett and Billy the Kid—except that Carnahan, it turns out, is even less of a romantic than Peckinpah was. There is no grand West fading into an uncertain future, no slow motion, no “Knockin’ on Heaven’s Door”; these are fairly ordinary men letting go of their unremarkable lives in the face of a bleak, matter-of-fact, vivid, tactile doom.